canadianinteriorsseptemberoctober2013

September/October 2013

Open for business Two off-the-wall offices NeoCon on the rise Designers at work: a portfolio

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September/October 2013

Official publication of the Interior Designers of Canada

45

COVER — 39 Blue Communications office in Montreal, designed by Anne Sophie Goneau and Jean Guy Chabauty.

Photo by Stéphane Groleau

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53

CONTENTS FEATURES

Open for Business BEST SHOT — 31 In Toronto’s Liberty Village, bright ideas are developed where once ammunition was manufactured. How Teeple Architects and Luc Bouliane Architect turned an old munitions factory into a dynamic home for marketing firm Cossette V7.

By Peter Sobchak WILD BLUE YONDER — 39 For Montreal-based digital agency Blue Communications, Anne Sophie Goneau and Jean Guy Chabauty design a compelling, creative, collaborative arena.

By Rhys Phillips LIVING IT UP — 45 Celebrating the new landscape of work at NeoCon 2013.

By Michael Totzke ON THE JOB — 53 Seven Toronto designers at work, in the space where they feel most comfortable and creative: a portfolio.

By David Lasker

23

FRESHLY PICKED — 58 Toronto-based design boutique Pulsinelli creates a more organic Apple store.

By David Lasker

DEPARTMENTS INSIDE — 12 WHAT’S UP — 14 SHOW BIZ — 23 Block party Spreading the design news in New York.

By Peter Sobchak WHO’S WHO — 61

LAST WORD — 62 School colours Gow Hastings Architects goes digital to give Humber’s School of Creative & Performing Arts a little razzle-dazzle.

By Michael Totzke

Following page 66

September/October 2013 VOL.50 NO.4

Michael Totzke Deputy Editor

Peter Sobchak

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Canadian Interiors magazine is published by BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd. Tel: 416-442-5600, Fax: 416-510-6875 e-mail: info@canadianinteriors.com website: www.canadianinteriors.com Canadian Interiors publishes seven issues, plus a source guide, per year.

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Inside

The way we work Welcome to our annual All Things Office issue.

For last year’s edition, I cooked up a special words-and-pictures feature for associate editor David Lasker (a man as adept with a camera as he is at the keyboard) to take on. I called it “Designers at work,“ which would capture a working day in the life of a prominent design firm. First up was Toronto-based Figure3 Interior Design, and the end result pleased me so much that I regarded it as the first in a series.

When it came time to plan this year’s issue, I thought: let’s mix it up a little. It was then I recalled the Figure3 shot I like best: creative partner Christopher Wright hunkered down in a cozy huddle area, one of his favourite spaces in the office. Eureka. I asked Lasker to capture a half-dozen of so Toronto designers where they felt most comfortable and creative. The end result is another gem, thanks to Lasker the photographer and Lasker the writer: engaging portraits of seven Toronto designers hitting the pause button during a typical working day (“On the job,” page 53).

The two offices we feature in this issue, both modern marvels, are located in historic buildings. The setting for the office of marketing firm Cossette V8 is an old munitions factory in Toronto’s Liberty Village, given new life by Teeple Architects and Luc Bouliane Architect. Writes deputy editor Peter Sobchak, “Thankfully [they] didn’t pursue a literal interpretation of the ammunition motif, but the intent was spiritually similar: build a space that encourages and harnesses the explosive power of the creative mind.”

(See “Best Shot,” page 31.) The setting for the office of digital agency Blue Communications, on the other hand, is the eighth floor of the old Dow Brewery tower in Montreal’s Griffintown neighbourhood, transformed by designers Sophie Goneau and Jean Guy Chabauty. Writes associate editor Rhys Phillips, “Blue’s corporate office suggests a digital company stripped back to core elements, generic for flexibility but still oddly compelling enough to bring home the brand.” (See “Wild blue yonder,” page 39. ) Rounding out the Office Special is my NeoCon report (“Living it up,” page 45). Hard to believe, but this was my 10th NeoCon in a row. I can honestly say I wouldn’t miss my annual trip to Chicago to see amazing contract furniture for the world. c I Michael Totzke mtotzke@canadianinteriors.com

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What’s Up

SEPT./OCT. The fashionable DX When Design Exchange president Shauna Levy was quoted as saying, “We want to show people that design is not just about buildings and furniture, that it can be seen in every facet of our everyday life – from our red-soled shoes to the box they came in, the shop we bought them in to the vehicle we took to get there,” she wasn’t kidding. First came “Christian Louboutin at the Design Exchange,” an exhibition that immersed the visitor in the world of the French luxury designer, best known for the coveted, iconic red-soled shoes of which Levy speaks. A theme seems to be developing with the offerings at the DX this fall, a theme that might be entitled Fashion & Accessories at the Design Exchange.

First up is the “Lingerie Française Exhibition” (Sept 26 to Oct. 13), a retrospective covering over 100 years of glorious French lingerie. The exhibition features 210 objects, from old corsets and bras to

prototypes of modern lingerie combining a functional and aesthetic importance. Eleven renowned French manufacturers are represented: Aubade, Barbara, Chantelle, Empreinte, Implicite, Lise Charmel, Lou, Maison Lejaby, Passionata, Princesse tam.tam and Simone Pérèle. The exhibition culminates in the irresistibly named “Trans-Historical Striptease”: a life-sized hologram illustrates the development of lingerie with a view to the change of the female silhouette and body language. The “Lingerie Française Exhibition” comes to Toronto following showings in Paris, London, Shanghai, Dubai, Berlin and New York.

Up next is the “Festival des Métiers” (Oct. 2–6), which translates as the “Festival of Crafts” and is presented by French luxury brand Hermès.

The exhibition provides an insight into the longstanding traditions and values of the company (which opened in Paris in 1837) in the crafting of objects defined by an uncompromising commitment to the highest standards of quality. It features intimate, behind-thescenes demonstrations by masterful craftspeople, illustrating the methods in which products – handbags, silk scarves, ties,

14 CANADIAN INTERIORS September/october 2013

watches and other iconic objects – are painstakingly made by hand using techniques passed from generation to generation.

Rounding out the fall events is “DX Intersection 2013: Market” (Oct. 18). During this annual fundraising “do,” all 40,000 square feet of the DX are transformed into a marvelous market, “where people will experience the intersection of sight, smell and sound.” This year’s VIP dinner is located within the exhibition hall at one large communal table; halfway through the evening, the space opens to all party guests and becomes a lounge.

At DX Intersection every year, Levy and company celebrate an acclaimed game-changer – one who effortlessly moves between creative disciplines, demonstrating creativity across all platforms. In the spotlight in 2013 are a “matching pair” of game-changers: Byron and Dexter Pert, known affectionately in the fashion world as “the Twins.” Born in Ottawa, and educated at the University of Western in London, Ont., the stylish brothers are the duo behind Montreal’s WANT Les Essentials de La Vie line of luxury bags and accessories.

Clockwise from top left The “Lingerie Française Exhibition” covers 100 years of French lingerie; three behind-the-scenes views of Hermès craftspeople in action, the focus of the “Festival des Métiers; Byron and Dexter Pert, who will be honoured during “DX Intersection 2013: Market.”

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What’s Up

Lambert & the light Mid-century Modern nostalgia emanates from Lambert & Fils, a storefront on rapidly gentrifying rue Beaubien, once a no man’s land between Montreal’s Mile End and Little Italy neighbourhoods. Inside the decorative lighting store, the twitching filaments of Edison bulbs, the patina of brass, the enamelled-iron and cast-glass lamp shades – even the stamped tin ceiling tiles, the large windows of the backroom atelier and the shop’s name – harken back to a family business of a long-forgotten yesteryear.

“The boutique works as a showroom: we display samples first and produce them after,” says Samuel Lambert, lighting designer and the eponymous patriarch. “I can generally make about 10 or more of each design. Otherwise I’d lose too much time sourcing materials for one-offs or have to sell them for more.” Despite 70 per cent of his business being custom lighting fixtures for residential and commercial settings, the throwback retail operation has served as a showcase for his work and struck a chord with recalcitrant Montrealers, making him the city’s most acclaimed lampiste.

Lambert, a former video editor, learned the ropes by restoring vintage lamps, when From top Samuel Lambert in his storefront window, the giraffe-like La Grue (with a shade inspired by Christian Dell) in the foreground; restored vintage lamps, new ones assembled from catalogue parts, and original designs, with a cinderblock wall as backdrop; two hanging lamps made of American blown-glass globes, surrounded by vintage and reproduction lampshades.

16 CANADIAN INTERIORS September/october 2013

he first opened his showroomworkshop formula at a previous location. The venture satisfied a deep desire to work with his hands. He considers the Singer Sewing Co.’s 1930s-era SLF-2, one of the first mass-produced work lights made of Bakelite, the “holy grail” of lamps. “They’re so well made and so simple,” Lambert says. “They’ll be around for another 100 years.”

Soon after opening, he began assembling new lamps out of commercially available parts via catalogue, likening the work to toying with a Meccano set but stopping short of naming his New York City supplier: “When you create with these pieces, you’re conditioned somewhat by the parts to make certain types of lamps.”

For the latest additions to his growing collection of original designs, Lambert cites 20thcentury, European industrial designers Christian Dell and Serge Mouille as touchstones.

He points to Atomium, a squat but slender leaning floor lamp of square brass tubing and three round frosted-bulbs. “It’s one of the lamps I’m proudest of, not necessarily because of the result but because it’s built from scratch,” Lambert explains.

His business’s growing pains mean that Lambert is often saddled with being an administrator; he lives for creative moments, like designing La Grue, another iconic original, which rapidly took shape during a brainstorm with his apprentices. While there’s indeed a family lineage behind the shop’s tongue-incheek name, Lambert has since had second thoughts. “In retrospect, I would have wished for a different name,” he says, “something more workshop-inspired, because the contribution of my apprentices is so great. The boutique is really a collaborative space for creativity and exchange.”

—Austin Macdonald

Photos by Caroline Hayeur

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What’s Up

IIDEX around the corner Canada’s National Design + Architecture Exposition & Conference, a.k.a. IIDEX Canada, is coming up fast.

The IDC (Interior Designers of Canada) and Architecture Canada | RAIC are again co-presenting the show. Its multidisciplinary focus continues to expand with the addition of the International Union of Architects/Public Health Group (UIA/PHG) Forum to IIDEX. This is the first time this prestigious international forum has been held in Canada; to complement the occasion, IIDEX has enlarged the Healthcare Design Expo for 2013.

IIDEX comprises eight additional expos-within-the-

expo, covering a multitude of subjects: Lighting, Hospitality Canada, Architecture Canada, Landscape Architecture, Textile Design, Retail Design, Workplace Design and Material World.

Brand-new attractions abound in 2013. These include “The Bunkie,” the world debut of a full-scale functional Bunkie – a fusion of furniture design and architecture – designed by the Bunkie Company; “IIDEX Workshop,” a timely response to the devastation caused by the emerald ash borer to ash trees in Toronto, with prototypes using ash wood by 10 established and five emerging Toronto-based designers; “IIDEX Glamping,” which examines that hot new trend, a blend of glamour and camping; and “Modernism at Risk,” featuring an exhibit of large-scale images by noted photographer Andrew Moore and interpretative panels with

five case studies exploring the role designers play in preserving Modern landmarks.

All this plus hundreds of innovative products and services; a full roster of glam awards ceremonies and exhibits; CEU-accredited seminars; receptions, tours and other networking opportunities.

Hope to see you there: drop by the Canadian Interiors booth

and say hello.

Held at Toronto’s Direct Energy Centre, Exhibition Place, IIDEX Canada runs Sept. 26-27.

For more information, visit iidexcanada.com.

Floor show Comprising nine expos-within-the-expo, IIDEX features hundreds of innovative products and services.

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Show Biz

Block party Spreading the design news in New York.

—By Peter Sobchak

What is it about the Big Apple? When you come here with the purpose of seeing one thing, something else down the block grabs your attention. Such was the case with the 2013 International Contemporary Furniture Fair (ICFF), where a suitably intriguing array of interior products was on display in the bright and airy Jacob K. Javits Convention Center. But just a few blocks down on 11th Avenue, the next generation of designers held their own party at WantedDesign, an independent design exhibition presenting new and original works in the high-energy atmosphere of The Tunnel at the Terminal Stores. Bristling with a kind of Uptown/ Downtown, Upper East/Lower West Side, Mets/Yankees dichotomy, this entirely New York juxtaposition created an invigorating double whammy for design industry enthusiasts.

There’s an app for that The venerable Dutch manufacturer Artifort joined forces with M2L and showcased a number of new contemporary furniture offerings, including the eye-catching Apps line of seating, which made its U.S. debut at ICFF 2013. Richard Hutten’s first design for Artifort comes in both one-person (Apps 1.0) and two-person (Apps 2.0) versions, both of which take their form from the ubiquitous square icons of the virtual world. M2L.com

September/october 2013 CANADIAN INTERIORS 23

1-Back to basics The Poly armchair and sofa collection by Los Angeles–based industrial designer Nolen Niu embraces a particular fascination of his: the unpretentious elegance of basic geometry. Here he takes simple 2-D graphic-inspired designs and turns them into 3-D form, either with a solid hardwood-based or fully upholstered version. nolenniu.com

2-Frankie goes to Wellington New Zealand–based Rebecca Asquith and Tim Wigmore of DesignTree debuted the Frankie light series. Laced with considerable amounts of Kiwi charm and craft, the design duo combined a few simple components of solid timber and felt to create a tactile and refined lighting

system available in a pendant, double pendant, floor and table version. Since the materials are FSC-certified silver beech and recycled PET for the panel, they can contribute to Green Star ratings. designtree.co.nz

3-Way up north Insidenorway, an initiative of the Norwegian furniture industry that aims to promote Norwegian design in foreign markets, held a fascinating prototype exhibition at ICFF that showcased 18 young Norwegian designers. Among the best was a modern take on the traditional glass-fronted cabinet, designed by Stine Aas, a third-year student at the Bergen National Academy of Art and Design.

Display Away (a) reflects light through the

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24 CANADIAN INTERIORS September/october 2013

cabinet, creating a shadowy effect on objects placed inside; the shelves’ rounded corners make them separate from the hull, creating a floating lightness. Another item that breathes new life into everyday objects was created by Oslo-based product and furniture designer Hallgeir Homstvedt. Tangent (b) is, at first glance, just a set of vases on a metal tray. But upon closer inspection, a strong neodymium magnet attached at the bottom of the vases lock them in an upright position while at the same time allow for free movement within the tray. insidenorway.no

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Show Biz 1-Stuck up The refreshingly cheeky Stickbulb comes from inspired minds at the New York City–based design firm RUX. What they’ve done is take leftovers of maple and sun-bleached Ipe wood from offcuts of previous works created in their studio, pieces that themselves were made from wood salvaged from the Coney Island boardwalk, and paired them with LED lighting strips. The series comes in various forms such as Bang, which skews the basic idea of a tripod lamp, and the single-stick Torch, which leans precariously from a weighted steel base. stickbulb.com

2-Play hard The Play collection, designed by Alain Berteau for the Belgian design firm

flat position (less than ¾ inch) to a structurally rigid, 3-D frame made of aluminum-composite panel, stainless-steel hinges and aircraft-grade stainless-steel rivets. folditure.com

Wildspirit, includes a table and chairs for both indoors and out that are both fun and functional. The table, available in square or rectangular versions, consists of solid teak; the stackable chairs come in oak, walnut or beech with a black, orange, camel, ivory or dark-brown calf-leather seat for indoor use or a mature teak frame for outdoor applications. wildspirit.eu

4-The right note Think Fabricate, a Brooklyn-based multidisciplinary design studio, debuted its new Your Reflective Cadence mirror composition at the show. It plays on the idea of musicality in design and is composed of six slim mirror panels that are conceived as a group that visualize legato and staccato notes through an up-and-down arrangement and subtly varying depths. thinkfabricate.com

3-On the hook Foldable furniture is nothing new – but a table that looks like it came off the set of RoboCop certainly is. As elaborate and robust as it looks, the Cricket system from Folditure opens in one movement by pulling on a hook. Claiming to be the world’s thinnest luxury dining table, it is based on an impressive folding geometry and locking mechanism that goes from a

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Show Biz 1-Do androids dream of neon?

Brooks Atwood and his team at POD Design were clearly inspired by the highly stylized retro-futurism of movies like Bladerunner when they sat down and began concocting the Tetra, a new 10mm-thick geometric neon desk lamp. Functionally governed by a brilliant daylight-inspired glow and an ingenious dimmer function, it also challenges the expectation of glass bending by combining only three curves, yet stays far away from the kitsch of neon bar signs. pod-design.com

2-Good enough to eat Italian kitchen maker Effeti unveiled its BK2 system at the firm’s new flagship showroom in the Tunnel. Designed by Gabriele and Oscar Buratti as a sort-of sequel to predecessor BK1, it’s characterized by the graphic line of the vertical

handle and features doors varnished in various matt and gloss colours or with wood veneer, and a breakfast bar finished in a thermo-treated (as opposed to stained) chestnut. effetiusa.com

Giacomo Rocker, the newest addition to its line of paper corded seating. This fresh and clever reinterpretation of a classic icon is staunchly modern but still feels welcoming, ready to congratulate you on your victory over the assaults of the day.

3-Building blocks Scott Jones is a Brooklyn–based industrial designer specializing in furniture and soft goods, but his day job is as a bag designer for a New York–based global brand, so it’s impressive that he found time to design and build the sassy Bloc’d Sofa. Constructed of steel, soft maple and upholstered foam, it would undoubtedly appeal to any addict of the classic yet maddening video game Tetris. scottjonesdesign.com

michaelyatesdesign.com

5-Head in the clouds While not exactly an up-and-comer, Trove chose well in picking WantedDesign to showcase its 2013 wallcoverings collection consisting of two new lines, Nimbus (shown) and Heze. Popping against The Tunnel’s industrial brick backdrop, the clouds of Nimbus (named after ones that prelude a storm) play with dark and light through wide, gestural brushstrokes. troveline.com

4-A well-earned retreat Michael Yates Design – based in Austin, Texas – has every right to be proud of

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28 CANADIAN INTERIORS September/october 2013

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Reception

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Open for Business

Best shot In Toronto’s Liberty Village, bright ideas are developed where once ammunition was manufactured. How Teeple Architects and Luc Bouliane Architect turned an old munitions factory into a dynamic home for marketing firm Cossette V7.

—By Peter Sobchak

SA OK phy

On the sunny side An internal “street” cuts through the large space to act as a main public corridor, provide informal meeting spaces for 300-plus employees, and serve as a stage or set for client pitches.

Photo by Evan Dion

September/october 2013 CANADIAN INTERIORS 31

Marketing firms are constantly asked to deliver new and innovative thinking about how to make their clients shine brighter than the competition and connect their brands to consumers in meaningful ways. So of course that imperative to think imaginatively is also expected of a design firm when asked to build the agency a new nerve centre. This 32 CANADIAN INTERIORS September/october 2013

puts everyone under the gun, which makes the narrative of Cossette V7’s new home all the more symbolic: its employees are now working in a factory once used to manufacture ammunition.

Thankfully, Toronto-based Teeple Architects together with Luc Bouliane, principal at his eponymous firm, Luc Bouliane Architect Inc., didn’t pursue a

literal interpretation of the ammunition motif, but the intent was spiritually similar: build a space that encourages and harnesses the explosive power of the creative mind. (Full disclosure: Bouliane worked for Teeple for almost 10 years until he struck out on his own two years ago. With Teeple, he was helping Cossette with expansions and sound studios, so Photos by Scott Norsworthy

Above Various departments flank the ground-floor street, while a series of “pods” serve as breakout creative spaces. Opposite The pods are accessed by stairs and interconnections that lead to a rooftop patio and outdoor space.

there was a natural pairing when the time came for Cossette to move to bigger and better spaces.) This building, the architects felt, was perfect for that.

Located in the hopping Liberty Village district, a mecca for Toronto’s creative industries, the space used to be one of Corus Entertainment’s many satellite facilities before it consolidated down on

the waterfront. What Corus left behind, however, was a box crammed with partitioned offices and a second internal storey that covered the structure’s clerestory windows. This made Cossette originally dubious about the building, thinking it would be hopeless to try and create energy and culture in it. But Teeple and Bouliane saw the inherent potential,

and stripped its insides to the bones, exposing the beautiful steel roof structure and brick walls to enhance all its dramatic features. This also solved Cossette’s primary problem in its previous digs on King Street West, of being dispersed over four floors. The new space brings everyone together spatially while still being able to group each division.

September/october 2013 CANADIAN INTERIORS 33

The skeleton of the building is basically two “sheds,” which lent itself well to the arrangement of Cossette, a fully integrated agency, and its sister-company EDC, a group of discipline-specific marketing agencies (both are under the umbrella of Vision7 International, a Canadian-based holding company) that handles direct marketing, social media, 34 CANADIAN INTERIORS September/october 2013

digital branding, PR and media creation (under the names Elvis, Dare, Citizen, Jungle, and Rocket). These feisty creative clusters needed a strong design gesture to help unite them, which was done by creating an internal “street” that cuts through the large space and acts as a main public corridor and informal meeting spaces for over 300 employees.

The 18-foot-high internal space has little nooks, lounges and meeting spaces along its length and connects two “street addresses” at each end of the building.

This shared street also doubles as a kind of a stage or set where material for client pitches can be displayed.

Various departments, offices and workstations flank the street on the Photo by Evan Dion

Above Having avoided the typical breakup of space with subdivisions, the design harnesses natural light from clerestory windows and fills the building with light. Opposite Individual pods lining “main street” are separated and identified by playful hits of brilliant colour.

ground floor, while a series of “pods” float above the work areas and public thoroughfare to serve as breakout creative spaces and communal gathering spaces for parties or lounging. These individual pods along the street have a playful facade treatment that uses shots of colour to separate and identify them. And by juxtaposing them against the rough Photo by Scott Norsworthy

industrial bones of the building, these slick pods help both create and house creative energy, similar to a cartridge case that contains the powder charge, primer and projectile of a bullet. (Although I said the design team avoided a literal rendition of the ammunition motif, Cossette couldn’t help itself and gave its meeting rooms names such as Gunpowder, Cannonball,

and Projectile.)

Creating opportunities for community, energy and collaboration was a driving mandate for the design team, but another important aspect of having a lot of shared public spaces is to combat the natural exclusivity and segregation that often comes when one company has a lot of small divisions within it. Not only did the September/october 2013 CANADIAN INTERIORS 35

Back to the beginning Before renovations began, the historic building was used crammed with partitioned offices and a second internal story that covered the clerestory windows. The architects stripped its insides to the bones, exposing the windows, beautiful steel roof structure and brick walls.

team avoid the typical breakup of space with subdivisions, the design harnesses natural light from the upper clerestory windows and fills the building with light, a unifying and democratic element made available to all.

While democratic space was important, there was a need for a collection of private offices on the building’s periphery. to 36 cANADIAN INTERIORS September/october 2013

avoid a box feeling, these are accentuated by a series of colourful fins that mimic the shape of the ceiling and structural beams. they also serve a practical purpose by allowing light in but providing a bit of sound baffling.

In these times of rapid change where traditional media models have crumbled, audiences fragment over and over again,

and marketers are obsessed with proving the value of their investments, media innovation has become not just desired but essential. Which means the spaces wherein which they give birth to these innovations is equally essential, making those design firms who can deftly handle lively firecracker clients like marketing firms true innovators. c I photo by evan Dion

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Open for Business

Wild blue yonder For Montreal-based digital agency Blue Communications, Anne Sophie Goneau and Jean Guy Chabauty design a compelling, creative, collaborative arena.

—By Rhys Phillips

All together now True-blue couches centre the room and serve as the flexible meeting zone.

Photography by Stéphane Groleau

September/october 2013 CANADIAN INTERIORS 39

This page Along one side of the space is a 36-foot-long communal table, a multifunctional and laboratory-like island for collaborative work. The presence of a stuffed hammerhead shark, painted white and mounted high on the wall, is entirely benign. Opposite Custom-designed staff desks are constructed of environmentally responsive honeycomb cardboard, covered with 1/8-inch plastic, supported by bent steel. Inset In the entrance vestibule, a neon logo asks/declares “Why Not Blue.“

The protracted economic uncertainty since 2008 has unfortunately refocused attention onto how modern economies have operated rather than on the profound epochal change underway. This misdirection is happening as, among others, economist Jeremy Rifkin (The Third Industrial Revolution) and Wired editor and entrepreneur Chris Anderson (Makers, The New Industrial Revolution) have already sketched out a very different socioeconomic future. The exponential progress of digital technology – and the imperative emergence of green-based energy – is engendering a revolutionary “distributive communication network” that, along with radically different ways of “making things,” will dramatically change how we work, play and live.

London’s Design Museum’s current exhibition, “The Future Is Here: A New Industrial Revolution,” offers a small glimpse into how digitalized manufacturing techniques such as 3-D printing, laser cutting and generic, multi-axis robots are increasingly 40 CANADIAN INTERIORS September/october 2013

operational. In turn, digital communication, particularly the Internet, provides the platform for rapid, highly efficient technical advances through open sourcing. In addition, rapidly maturing digital networks have thoroughly radicalized distribution options and access to funding. As well, it has opened up to event the most modest “DIY maker” access to inexpensive product testing, design improvement through open engagement, demand assessment and alternative marketing. Some of the specific digital tools responsible include social media, crowdfunding and open, flexible technical communities on a world scale.

Since 1998, Sophie Lymburner has built her Montreal-based Blue Communications into a multi-award winning “digital agency … that creates branded websites and applications, content strategies, social media, and IT development [in order to] connect brands with people who connect to each other in the digital space.” For example, Blue created a customizing app for Lands’

End Business Outfitters Uniform Design Studio that permits users to drag and drop desired gear into their “canvas,” mix and match combinations and insert their own brand logo.

When growth demanded a move from the firm’s cramped and conventional closed offices, Lymburner choose to relocate to 2,750 square feet of open space on the eighth floor of the iconic brewing tower of the old Dow Brewery. LEED-designated, the building is located in the city’s emerging adaptive-use industrial heritage neighbourhood of Griffintown. While the space offered high ceilings and panoramic views of Montreal through mammoth windows, it was still raw, cluttered, not-to-code and unfinished. As a result, designer Anne Sophie Goneau was tasked to convert this “scrap space” into a creative, collaborative arena with flexibility to morph into a dynamic corporate events venue at night, even complete with a DJ. With limited time, Goneau joined forces with her old patron, September/october 2013 CANADIAN INTERIORS 41

This page At left is the meeting room, an almost seamless glass box that appears to float within the larger volume, providing acoustical if not visual privacy when needed. Setu office chairs from Herman Miller surround an Eames conference table.

Opposite In the meeting zone, Artemide’s Tolomeo lamps add a bit of disorder and spatial distortion, “like the chaotic placement of park trees,” in the words of designer Goneau. Their human scale emphasizes the office’s exceptional height.

veteran Montreal designer Jean Guy Chabauty. Their mandate, she says during a joint telephone interview, was to create a series of work zones that avoided walls to ensure a stimulating environment that encouraged communication. Access to natural light and city views, a comfy area for informal interaction and plenty of visual projection planes were also required.

In response, the space, with its soaring 30-foot-high bare concrete ceiling, was stripped to its basic elements, the walls, mechanical pipes and conducts painted pristine white, the tall windows left unadorned and the concrete floor simply varnished.

To enhance the initial experience of the almost glowing “less-ismore” result, a tightly compressed entrance vestibule, bare except for a blue-neon logo asking/declaring “Why Not Blue,” was introduced. The billboard floods the small space with an eerie bluish glow that ensures a distinct jolt on encountering the voluminous, light-filled box beyond.

42 CANADIAN INTERIORS September/october 2013

Everything is white except for true-blue sectional couches, custom designed by Goneau and Chabauty, which centre the room and serve as the informal but comfortable and flexible meeting zone. Around this seating, Artemide’s freestanding Tolomeo lamps, says Goneau, add a bit of disorder and spatial distortion, “like the chaotic placement of park trees.” Their human scale also helps emphasize the office’s exceptional height.

Along one side is a 36-foot-long communal table, a multifunctional and laboratory-like island for collaborative work. (Not incidentally, it also doubles as a staff kitchen and bar for evening events.) The island, with its retro-like lab stools by Jeff Covey, is custom designed by the designers and constructed of environmentally responsive honeycombed cardboard, covered with 1/8-inch plastic. Elsewhere, custom designed staff desks also incorporate the same unconventional material while supported by a white painted structure of bent steel.

Frozen in motion, painted white and mounted high on the wall above the island is a stuffed hammerhead shark, its broad mouth somewhat ominously agape. While some might see a reference to the swimming-with-sharks world of television’s Mad Men, here the intended image is more benign (to be fair, while hammerheads have been known to attack humans, there are no known fatalities). The shark’s tail overlaps a sizable frosted glass mirror that represents an aquarium. In other words, say the designers, the tableau expresses creativity escaping conventional constrictions to float in a sea of the imagination.

While the firm believes creativity best flourishes in a somewhat chaotic open environment with frequent opportunities for casual convergence, a modicum of privacy is sometimes required.

An almost seamless glass box that appears to float within the larger volume provides acoustical if not visual privacy when needed. Inside, Berlin-based Studio 7.5’s Setu office chair for Her-

man Miller, designed to LEED standards and ubiquitous throughout the office, surrounds an Eames conference table.

Beside this meeting room and tucked into the building’s corner is Lymburner’s enclosed but also transparent executive office, made just a wee bit cozier with a baby-blue Herman Miller coach and shag rug.

Anderson’s book provides a fascinating insight onto an emerging digital industrial revolution that suggests a new “maker” economy characterized by ordered chaos. Increasingly there is an almost oxymoronic blend of intense, open and creative collaboration forming and reforming across geographic and occupational boundaries but also driven by a culture of individual entrepreneurship. Blue Communications’ corporate office suggests a digital company stripped back to core elements, generic for flexibility but still oddly compelling enough to bring home the brand. c I September/october 2013 CANADIAN INTERIORS 43

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Open for Business

“Living Office helps people customize their methods, tools, and places of work to express and enable shared character and purpose. It is based on what is fundamental to all humans and evolves continuously in response to change. It is a more natural and desirable workplace that fosters greater connection, creativity, productivity, and ultimately, greater prosperity for all.”

Such is Herman Miller’s outline of the Living Office, the revered company’s multidimensional response to the “new landscape of work” –­ which is “inherently global and seamlessly digital,” where the roles of individuals and organizations are blurred; and where the lifecycle of ideas, products and even entire businesses has accelerated “from minutes to milliseconds.” In other words: hold onto your hats, welcome to the future, and let Herman Miller take you there. With a comprehensive set of offerings in its handsome, hectic showroom – i­ncluding new systems by Yves Behar and Studio 7.5, not to mention a reinvention of the classic Eames side chair – Herman Miller stole NeoCon 2013. (See page xx for highlights.)

The runner-up? That would be Teknion, with an expanded, completely redesigned showroom, and Really Big News to share: a design partnership with industrial designers Jeffrey Bennett and Nicholas Dodziuk of CDS (Consultants for Design Strategy) studio; an exclusive North American distribution, licensing and manufacturing agreement with B&B Italia for its Project Collection; and an alliance with textile designer Suzanne Tick. (See page xx for highlights.)

Elsewhere in Chicago’s marvelous Merchandise Mart, innovative products abounded – too darn many to fit in these pages, making the winnowing process this year particularly painful. Companies that made the cut include Allsteel, Coalesse, Haworth, Keilhauer and Steelcase.

If the numbers hadn’t changed from last year (40,00 visitors; 700+ showrooms and exhibitors, spread over one million square feet), the mood had: this was as upbeat a NeoCon as any I can recall in my 10 years of covering the show.

NeoCon 2014 is slated to run at the Merchandise Mart June 9-11.

From top Coalesse’s Work Lounge with anopy; Herman Miller’s Eames Side Chair; Teknion’s Interpret desking system.

Living it up Celebrating the new landscape of work a ­ t NeoCon 2013.

September/october 2013 CANADIAN INTERIORS 45

1—Charles & Ray would approve For the first time, the iconic Eames Side Chair is being produced in molded wood, in a range of veneer and base options. It was originally mass produced in molded plastic, then revisited in wire. Only now, with the latest advances in 3-D veneer technology, has wood veneer attained the extra flexibility it needs to be molded into the complex curves of a single shell. Available in santos palisander, white ash and walnut woods, with wire dowel leg and four-leg base options.

2—Public good Designed by Yves Behar/fuseproject, Public Office Landscape is a system of components that provides surfaces, storage and seating to enable a multitude of work settings. The building block of the system is the Public Social Chair, delivering scale and design language on which all the modules are based.

3—Locale locale locale Designed by Sam Hecht and Kim Colin, Locale is a system that encourages the free shift from individual work to collaborative activities.

It offers a centralized structure, cantilevered surfaces and height adjustability. Mobile tables, screens and easels can be utilized as the need arises.

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4—Form & function Metalform Portfolio, designed by Studio 7.5, offers a collection of modular blocks to delineate space and create a range of settings; an array of accessories furthers the blocks’ utility.

Metalform’s lightweight and intuitive pieces, made of expanded polypropylene, can be easily configured and reconfigured – in the moment – by the people who use them.

It’s Herman Miller time

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1—Work & play Coalesse introduced Lagunitas, a highly customizable lounge and table collection designed by Milan-based Toan Nguyen.

Providing full power solutions, it offers an articulating back cushion, allowing for both lean-back postures to relax and socialize and lean-forward postures for concentrated work. coalesse.com 2—Never too rich or too thin Davis’s Span, a super-slim conference and working table, is able to support lengths of up to 144 inches on just four legs. Although it appears to be constructed from one long, solid piece of wood, it is actually a combination of aluminum, steel and sheet metal that has been laminated together and clad in a wood veneer. davisfurniture.com

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3—Poetry in motion HBF debuted Asa, a collection of lounge chairs and occasional tables designed by Todd Bracher. Light in weight and scale, Asa was inspired by the “S” shape found in the natural curvature of the human spine. Poised on a slender, polished-stainless-steel base, the chair and tables share a light, floating presence. hbf.com 4—Juxtapositions EOOS’s latest collection for Keilhauer is Juxta, a collection of chairs, stools and tables designed to address the ways people behave and interact while meeting, in large groups or small, in public or private spaces. Four different chair bodies (high back or low back, with or without arms) are available with seat heights suitable for lounging or working; a side chair is included. keilhauer.com 5—At the ready The Harbor Work Lounge from Haworth is a contemporary, height-adjustable task and lounge chair hybrid. The chair’s integrated work surface includes a sliding plywood tablet and suede seat wing, which securely keeps work tools comfortably at hand. A matching ottoman is complete with a visitor cup holder or veneered side table. haworth.com

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Let’s talk Teknion

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1—To B&B, that is the solution Teknion presented the B&B Italia Project Collection, a portfolio of seating, tables and wood casegoods designed for the contemporary office, restaurants and public settings. Among the goodies was an AC Executive Desk by Antonio Citterio; Tulip chairs by Jeffrey Bernett; Hollow sofa and chair by Patricia Urquiola; Posa chairs and low table by David Chipperfield; and (shown) the Cloud sofa by Naoto Fukasawa.

2—Optus optimization Optus Low Profile, a seamless glass architectural wall product, provides unparalleled access to daylight in interior spaces, while offering acoustic privacy and creating space division.

Base and ceiling frame elements include patented incremental height adjustment.

3—Our interpretation Teknion has enhanced its award-winning Interpret desking system, introduced last year. Refinements include expanded planning applications (Interpret is unique in that it can create a more open benching or desking

48 CANADIAN INTERIORS September/october 2013

environment while still offering the option to create a more privacy-focused, enclosed panel-like environment); new storage, accessory and screening options; and additional finish options.

4—Create a cluster Comprised of a lounge chair, settee and ottoman/bench, the Fractals Seating Group – designed by Jeffrey Bernett and Nicholas Dodziuk of CDS – is designed to support new organic planning in contemporary settings. The seating elements work together to create collaborative zones in multiple cluster configurations; a higher-back option more clearly delineates space and creates privacy.

5—Making Teknion tick Teknion Textiles is a new line of fabrics created for contemporary contract interiors in all market segments. The very first collection is Surface Tension, by Suzanne Tick, Teknion Textiles’ creative director.

1—Open & shut case If there were a NeoCon award category known as “I want to try!” then Coalesse’s Work Lounge with Canopy – designed by renowned French architect Jean-Marie Massaud – would have won Gold. We all lined up to sit on the comfy lounge chair with the LED-lit canopy – equipped to host mobile devices; complete with a Bluetooth appliance hosted behind the headrest; and with three positions (closed, semi-closed or open) signalling to others if the user is to be approached or left undisturbed. Every office could use at least one. coalesse.com 2—Making a Gesture The best task chair introduced at the show is Steelcase’s Gesture, the first chair designed to support our interactions with today’s technologies, and inspired by the movement of the human body. Among its merits: the back and seat move as a synchronized system with each user to provide continuous support; arms and shoulders remain supported during texting, typing or swiping; users can adjust the chair as easily as adjusting their posture. steelcase.com 3—From here to infinity Haworth’s Bluescape – an infinite, collaborative workspace that enables anyone to create, communicate, organize and strategize virtually anything, anywhere, anytime – took Best of Competition at NeoCon 2013. It offers cloud-based software and services (Saas) that can be accessed on multiple devices, including large-scale, high-def, multi-touch screens; iPads; laptops; and mobile devices. haworth.com

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4—Get creative With its new Create, Allsteel makes the most of a footprint and provides privacy in an open environment. An agile furniture system, Create includes surfaces, supports, screens and storage that can be configured to form a wide variety of work environments; it allows users to efficiently reconfigure their spaces on the spot or over time. allsteeloffice.com 5—Intelligent beings Also from Steelcase is V.I.A., which stands for Vertical Intelligent Architecture. V.I.A. creates intelligent rooms, designed to augment human interaction by providing true acoustical privacy and hosting technology; it provides a sense of permanence with the speed and design flexibility of a relocatable wall. steelcase.com

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1—Modern art Milliken’s new floor-covering collection, Art Media, is a library of patterns that reinterprets iconoclastic modern art techniques and media.

It comprises three groupings: Charcoal/Chalk/ Graphite; Action Painting and Drip Painting; and Op Art. Shown: a) Drip Painting, in Beryl; and b) Op Art, in Grizalle. millikencarpet.com 2—Oh, Olivia Joel Berman Glass Studios introduced Olivia, its latest three-dimensional texture. Kiln-cast and curvaceous, it features an intriguing and replicating design that reflects light in a subtle yet dramatic fashion. lbermanglass.com 3—Go big Continuing their fruitful collaboration, Maharam and Paul Smith debuted Big Stripe, a lustrous worsted wool seating textile characterized by expanses of saturated colour in varied widths and combinations. Drawn from the mid-20th-century concept of colour-field painting, Big Stipe has a repeat of nearly eight feet. maharam.com 4—Good form Designed by Lievore Altherr Molina, the elegant Agora offers fully upholstered lounge seating punctuated with metal and solid wood bases. andreuworld.com 5—Hot off the runway Knoll Luxe has collaborated on a new collection with SUNO, the womenswear label founded in 2008 by Max Osterwis in collaboration with designer Erin Beatty. It consists of seven upholstery and two drapery textiles that have been translated from SUNO’s recent runaway collections. knoll-luxe.com

50 CANADIAN INTERIORS September/october 2013

S

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Within Glimmer & Silhouette, there are eight coordinating color ways in each style, each named after the architecture and icons of the Fair and crafted for corporate interiors, public spaces and higher education.

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Open for Business

On the job

Seven Toronto designers at work, in the space where they feel most comfortable and creative: a portfolio. —Text and photos by David Lasker

September/october 2013 CANADIAN INTERIORS 53

Michel Arcand In8 Design

In8 Design principal Michel Arcand is hunched over the Ice Cube, his name for the 4-by-12-foot, bar-height island that stretches along the post-and-beam, exposed-brick loft that his firm calls home. “It’s our very communal counter,” he says. “We have lunch together every day, then we wash it with Windex. We naturally gravitate to the Ice Cube because it gives us a break from our desks.

We like having the option of standing or sitting on the stools.” The three-yearold, four-person firm specializes in corporate design for clients such as environmental designers Entro.

“I like to work on large surfaces where you can unroll the rolls and go to it,” Arcand says. “When we were planning the office, I thought that it’s silly to have to unfold a full set of drawings and feel cluttered or trapped in a tiny workstation. That’s why we have those big shared tables, so anyone can unroll big drawings anytime, even when the Ice Cube isn’t available.”

Adds the 40-something designer, “Many of us dinosaurs have to plan on sketch paper. The younger ones in the office have to be computer-oriented or we won’t hire them. Plus, they wouldn’t know how to draw by hand, anyway.”

Ella Mamiche ZAS Architects + Interiors

In the office of ZAS Architects + Interiors – located in the renovated, 1909 Copp Clark publishers building on Wellington Street West – meeting rooms and offices framed with Teknion’s Altos architectural wall system play off against the base building’s exposed brick and weathered timbers.

From behind the modular glass wall of her private office in the interior design area at ZAS, Ella Mamiche can work at her desk while keeping in touch, and in sight of, her team of eight design associates. A full-service design firm founded in 1984, ZAS has 38 staff members in Toronto, seven in Vancouver, and 20 in Dubai. Recent notable projects by Mamiche’s team include the Air Canada Special Operations Centre and Adidas Canada’s new home office in Vaughan, Ont. A few small tchotchkes – along with photos of her daughter’s equestrian pursuits, taped to the wall – show a personal touch. Otherwise, this office is strictly business. Here, the enlivening element of European flair is Mamiche herself, smartly turned out as always, from her flaming red hair to her cobalt-blue-suede shoes.

54 CANADIAN INTERIORS September/october 2013

Erik McClelland Fleur-de-Lis Interior Design

Erik McClelland of Fleur-de-Lis Interior Design is well known to the public as a residential designer and as a regular guest expert on CityTv’s CityLine. His recent hospitality projects include the new Hot Stove Club at the Air Canada Centre. Who’s minding the store? He is, living as he does on the second floor of his Eglinton Street West premises. The rear of the main floor has office quarters for his 24-year-old, six-person design firm; the storefront accommodates Room, his retail store and showroom.

Between the two zones are a reception desk and the boardroom, where he likes to hang out. Despite having a workstation in the back, he prefers to work in the boardroom, where, he says, “I feel connected to the front end of the office, yet, if clients come in [to the store], they can sit down and interact with me.” The boardroom walls showcase work by Canadian artists Thrush Holmes and Paul Belleveau; the wall is a glittering piece of art in itself thanks to the Venetian stucco finish and silver-leaf accents. “It was huge in the ‘80s,” he says. “It’s a finish gone by, but it’s still lovely.”

Anna Simone Cecconi Simone

“I don’t have an office. I don’t want one,” says Cecconi Simone partner Anna Simone in her characteristically dusky voice, wearing a trademark scarf.

Instead, she prefers to work in the lower level of her company-owned low-rise on Dundas Street West. The room is a large servery-hospitality area, where she’ll start a meeting and break the ice by making fruit smoothies for her guests. “Whenever you’re at a house party, the gathering place is always the kitchen. You feel more relaxed and connected. There’s casualness about a kitchen that takes the edge off of being in an office environment. I feel that I can be more hospitable with clients and interact on a more personal level.”

Founded in 1982, her firm, numbering 45 employees, is known for its office, hospitality and, in particular, condominium design projects, such as the sales centre for Massey Tower Condos in the long-vacant 1905 Canadian Bank of Commerce Building. She’s standing at a long wooden table made from little planks salvaged from an old bowling-alley floor. “We always like to repurpose materials. That’s the way we think. We take something intended for one use and put it in another application that’s totally unexpected.”

Inger Bartlett Bartlett & Associates

Inger Bartlett, who heads her 30-year-old, 12-person, eponymous interior-design firm, has just explained that the firm’s work ranges from high-end residential and condo renos to the financial sector, but centres mostly in creative office spaces.

So how could she not be following Mad Men, which dazzles the eye with its ‘60s fashion and design art direction? The question is pertinent because she’s reposing on a contemporaneous, vintage Herman Miller sofa whose swooping sides look so ‘60s-retro. The sofa is the commanding feature of the café on the firm’s third floor. “We like to work in a collaborative way,” Bartlett says. “We often come here to work together, away from our workstations, away from our tasks.”

On the coffee table in front of the sofa she has plopped what appears to be a giant white Bento box. Only, instead of rice, fish or meat and pickled or cooked vegetables, she’s filled it with an equally colourful and varied mix of wood, stone and textile materials. “We use big white boxes to look at all our samples – marble, metals, textiles – the entire palette we’re looking at for a project. We will move the box to wherever a meeting table is free. Together, as a team, we can explore our options.”

September/october 2013 CANADIAN INTERIORS 55

Nino pulsinelli Pulsinelli

In the Leslieville office of his namesake firm, Nino pulsinelli is master of all he surveys as he gazes out to the open area below from his aerie, a mezzanine-level private office perched headbumpingly close to the ceiling. “When I look down on the general office below, I feel like I’m reading a floor plan,” he says. Up here there are no paintings, posters or family snapshots to junk up the vision of purity, and scarcely a working drawing in sight. the sole concession to cravings for tactile and visual stimulation is the richly figured grain pattern on the walnut slab that serves as the worksurface on pulsinelli’s desk. He was born in Italy and studied interior design and sculpture in milan. Speaking as a sculptor, he says, “We interact with a volume by touching the material. For me, the tactile experience of marble, wood and metal is extremely important.” After moving to canada, he incorporated his firm in 2004. His seven-person firm works mostly with retail clients, such as Nike and Apple. “I love New York, especially those lofts in SoHo. this building on carlaw is as close as you can get to a SoHo loft in toronto.”

micheline bartlett Intercede Design

micheline bartlett has been at the helm of Intercede since 1981, which makes her firm one of the longest-lived practices in toronto.

She and her 13 co-workers toil primarily in the corporate sphere; recent projects include citibank’s canadian head office. While she enjoys her corner office overlooking Queen Street east, she can typically be found in the library, pondering a sample board. “the library is also the sample room and the hub of activity in our office, where we all get together to share ideas and brainstorm concepts,” she says.

Warming to the subject, the affable designer continues, “most of the reps who visit comment on how we have one of the most extensive sample rooms in the city; a lot of design firms barely have one any more.

Sure, you can always look at things online or order samples, but to have access to a pretty extensive selection of samples, then and there, allows us to service client needs more quickly. And, it’s stimulating.”

56 cANADIAN INTERIORS September/october 2013

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Freshly picked Toronto-based design boutique Pulsinelli creates a more organic Apple store.

—By David Lasker

58 CANADIAN INTERIORS September/october 2013

From top left Instead of a flat front, the facade features an off-centre U-shape that creates a recessed entry area; at the centre of the store, a sector of wall and ceiling is wrapped with a grid assembled from various lengths, widths and depths of stained-ash lumber (visible at right, the store’s mission statement is CNC-carved into a panel); the large, interactive table – a thick walnut slab – shows how high-touch meets high-tech in the furniture. idpattern’s swirls and whorls.

Much of the success of Apple, the world’s most valuable company, is attributable to the vise-like control that late Apple chief Steve Jobs, the business leader with the personality-cult following, maintained over every aspect of Apple’s public image.

So it may come as a surprise that Apple has a program for independent retailers known as Apple HQS (high-quality store).

The retailer hires an interior designer recommended by Apple and Apple signs off on the design.

Apple’s generic mall-store design is a familiar fixture on the retail landscape, with trademarked features including windows framed by stainless-steel panels; grey ceiling, walls and floors; and blondwood Parsons display tables. The mission of the duo from Toronto design boutique Pulsinelli, comprising founder and principal Nino Pulsinelli and designer Sia Mahdieh, was to create a store that diverged from this model by giving it a distinctive look.

Photography by Peter A. Sellar/PhotoKLIK

Apple specialty stores, Pulsinelli explains, are a more streetfront-oriented operation and targeted to a specific demographic, “like when you go into a Starbucks café and you feel it’s part of the neighbourhood.” To that end the mission statement, near the front of the store –­ a 1,500-square-foot Apple HQS on Toronto’s Bloor Street West – cites Toronto luminaries Jane Jacobs and Marshall McLuhan, helping it resonate with the locals. To reflect the neighbourhood’s demographic, the designers use organic shapes, natural woods and all-LED lighting to evoke sustainability and a connection to nature.

From the get-go, the store has the feel of an art gallery. Instead of a flat front, the facade features an off-centre U-shape that creates a recessed entry area; access is through a door on the side of the main, glassed-enclosed display area. The designers removed the storefront’s bulkhead and relocated its mechanicals, allowing for a two-foot-taller glass expanse. They also

pushed back (by two feet) the rear wall of the display vitrine, at the right of the entry, to enlarge the display area and make it more useful.

The art-gallery concept is apt because the display furnishings are custom art pieces rather than off-the-shelf hardware.

The taupe coloration of the durable and dirt-concealing porcelain-tiled floor mediates between the wood tones and the pristine white walls. LED strip lighting outlines the principal forms of the display furnishings and emphasizes their volumes.

Upon entering, the first thing the customer encounters is the iPad table.

Farther along is the principal display fixture in the store, the interactive table.

Here, customers are made to feel welcome to interact with (or, in plain English, to try out) product on their own, without feeling pressured by sales staff. All according to Apple’s criteria for product display ­– but, like much else here, freshly interpreted. cI

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Who’s Who

1

2 4

3

5

DxN at Brick Works

Summer sizzlers —Text and photos by David Lasker 1

Design Agency block party The Design Agency, the interior design firm whose high-profile projects include Momofuku restaurant at Toronto’s Shangri-la Hotel, kicked off the Simcoe Day long weekend with a block party in and outside of its office on Adelaide Street West.

Hundreds of design-community members gathered at Evergreen Brick Works to toast the winners of the second annual Design by Nature competition and the exhibition of their public art and furniture. The program, with Teknion as founding sponsor and Office Source as ongoing sponsor, highlights the connection between design and sustainability, and the creative potential of salvaged materials.

1—Architect sisters Aleksandra (in solo practice) and Yvonne Popovska (at LGA, formerly Levitt Goodman Architects), along with Leland Dadson (intern at MacLennan Jaunkalns Miller Architects), comprise PopTarts. The artistic collective created the Beehive, an abstracted beehive made of recycled corrugated cardboard, wax and glue, intended to encourage pollinating bees to roost.

2—Larry Sadinsky (in stripes), interior designer at construction manager and contractor Vandyk Commercial, forms a trio with Teknion’s David Feldberg, president and CEO, and Joe Regan, senior VP, design and corporate marketing. Feldberg, ever the gracious host, stocked the bar with the flagship reds and whites from Stratus Vineyards, his super-premium, sustainable winery at Niagara-on-the-Lake.

3—Furniture designer-makers Mike Sharpe, Storyboard Furniture, and Ian Devenney, Threshold Design Studios; set designer Irene Cortes, Three-E Studio; and furniture designer-maker Scott Barker of Design Workshop.

4—The Office Source force: Celia Spaulding, director, business development and workplace strategy; Chris Rayner, VP sales; Marj Skinner, executive VP; Natalie Socha, client services manager; and Alan Skinner, president.

5—Geoff Cape, CEO, Evergreen Brick Works; Sue Madsen, recently retired from Teknion, and co-founder, Design By Nature; Scott Deugo, chief sales and sustainability officer at Teknion; and Matthew Cohen, Design By Nature co-founder and design director at the Centre for Social Innovation’s New York office.

2

1—All smiles: Design Agency partners Matt Davis, Allen Chan and Anwar Mekhayech.

2—Bottecchia Artistic Group partners Andrew Bottecchia and Hal Eisen, who do interior and garden design and project management, flank Marble Trend A&D sales consultant Laura Wilman. Bottechia was production designer for CBC TV’s Designer Guys.

3—Sacha Klein, project manager, Titanium Contracting; Kelly Brown, designer, Design Agency; Deirdre Burik, fashion-model trainer at Sutherland Models; and Christopher Rowe, Herman Miller Collection sales lead.

3

September/october 2013 CANADIAN INTERIORS 61

Last Word

School colours Gow Hastings Architects goes digital to give Humber’s School of Creative & Performing Arts a little razzle-dazzle.

—By Michael Totzke 62 CANADIAN INTERIORS September/october 2013

Gow Hastings Architects is not afraid of colour. With its (extensive) academic projects, the Toronto-based firm has demonstrated a willingness to paint the school/centre/institute/lab/residence red/ pink/orange/yellow/blue/green. As principal Valerie Gow has said, “In all our projects, we try to define a focal point for the space, then try to play off from that.

We like to us a fairly neutral palette for the majority of the space, then accent it with really strong colours.”

Cases in point: the School of Interior Design at Ryerson University, where dashes of hot-pink glass wake up unpainted wooden beams and cream-brick walls; the Mixology Lab at George Brown College, its bright-red shelves and deep-red accent wall contrasting with pristine white counters and birch millwork; and the Skilled Trades Centre at Humber College Institute of Technology and Advanced Learning, where an abstracted pattern of nuts and bolts – applied to generous windows – cast bands of chartreuse and leaf-green light into the student hall.

Which brings us to Gow Hastings’ latest project for Humber: the transformation of an ice-hockey rink into the School of Creative & Performing Arts. After creating 10 studios for acting, dance, media, film and cabaret, plus other facilities, Gow realized something was needed to counter the dark, insular

quality of the arena, as well as create a distinctive brand identity – on a fast schedule and tight budget, of course.

Having rejected the notion of wrapping panels and tiles around the central core of the building a ­ s too expensive, Gow and company hit upon the idea of digital wallpaper. When stock photography proved to be cost-prohibitive, staff member Hugo Martins combed through his own photos from treks to Ontario’s Algonquin Park, to Australia and California, and to Portugal, the country of his birth. From images of plants, grasses, water and sky, he extracted long, thin strips that were sharp enough to be blown up without becoming grainy; these were sent off to the printer for tests, over a two-week period, to get the right, smooth effect with no pixilation.

The end result is a wonder. Running from warm to cool as it wraps around the building’s core, the wallpaper serves as a cheery backdrop for an informal café and lounge off the main entrance. Recessed ceilings fitted with canary-yellow acoustical panels and hidden lighting, plus large skylights with deep light wells painted vibrant hues, further enliven the school’s public spaces.

Gow Hastings’ efforts well suit the giddy enthusiasm of performing-arts students. To them, the future seems as bright as the architects’ amazing Technicolor dream wall. c I Photos by Tom Arban

the ones to watch La relève à surveiller By / Par Rachael Factor

IDC recognizes Canada’s top emerging interior design professionals

Les DIC reconnaissent les professionnels du design d’intérieur en devenir.

IDC’s Top 5 Under 5 awards program celebrates the talent of up-and-coming interior design professionals. The program awards five winners who are in the first five years of their professional experience, as selected by a panel of experienced interior designers. Presented in partnership with Interface and Knoll, the program is in its third year.

Entries were accepted from IDC’s Intern/Provisional members across the countr y – practitioners who have graduated from an accredited interior design program and are gaining supervised work experience before writing their qualifying exams.

Judges Suzanne Campbell (ON), Victoria Horobin (ON), Karen Lutz (BC), Carol Jones (BC) and Nicole Cormier (NB) selected the winners based on recommendations from the applicants’ supervisors as well as their creative solutions to a design challenge.

This year’s challenge asked applicants to design a retail and community space for Women’s Education and Literacy Nepal (WELNepal), a not-for-profit organization that aims to empower Nepalese women by providing them with opportunities for education and economic self-sufficiency. The applicants created a multi-functional kiosk that could act as a retail space where women could sell their products, as well as a centre for learning and networking.

“This year’s Top 5 really did their research and thought about how this space would be used,” said Suzanne Campbell.

“Rather than design something that one would build here in North America, they thought to incorporate bamboo and other building materials native to Nepal.” Said judge Carol Jones, “It was amazing how different these five entries were, yet all practical and feasible. I was very, very impressed with all of them.”

The winners will receive a trip to attend IIDEX Canada in Toronto. Their achievements will be celebrated at an awards ceremony on September 26 where they will each be presented with a specially commissioned trophy by Canadian sculptor Tim Forbes. IDC warmly congratulates all the winners of this year’s Top 5 Under 5 awards. It is a well-deserved honour.

Le programme Top 5 under 5 des DIC célèbre le talent des jeunes designers d’intérieur professionnels ambitieux. Le programme récompense 5 gagnants qui sont dans les 5 premières années de leur expérience professionnelle, choisis par un groupe de designers d’intérieur expérimentés. Le programme est dans sa troisième année et est présenté par les firmes Interface et Knoll.

Les candidatures acceptées sont celles des membres provisoires ou stagiaires des DIC de partout au pays, des praticiens qui ont gradué dans un programme accrédité en design d’intérieur et qui accumulemt présentement leur expérience de travail avant de passer les examens de qualification.

Les juges Suzanne Campbell (Ont), Victoria Horobin (Ont), Karen Lutz (C.-B), Carol Jones (C.-B) et Nicole Cormier (NB) ont sélectionné les gagnants selon les recommandations des superviseurs des candidats autant que pour leurs solutions créatives au défi de design proposé.

Le défi de cette année demandait aux candidats de faire le design d’un point de vente et d’un espace communautaire pour le WELNepal (Women’s Education and Literacy Nepal), un organisme à but non lucratif venant en aide aux femmes népalaises, afin qu’elles puissent se donner du pouvoir en leur fournissant des occasions d’éducation et d’autonomie économique. Les candidats devaient créer un kiosque multifonctionnel pouvant servir à la fois de point de vente où les femmes peuvent vendre leurs produits et de centre pour des formations et du réseautage.

Suzanne Campbell affirme : «Cette année, les Top 5 under 5 ont fait leur recherche et ont réfléchi à comment cet espace serait utilisé. Au lieu de créer un espace qu’on retrouverait ici en Amérique du Nord, ils ont pensé à intégrer des matériaux indigènes au Népal, comme le bambou, parmi d’autres.»

Carol Jones ajoute : «C’est incroyable de constater les différences entre ces cinq dossiers, qui demeurent très pratiques et réalisables. J’ai été très impressionnée par l’ensemble.»

Les gagnants recevront un voyage pour participer au salon IIDEX Canada, à Toronto.

Leurs réalisations seront célébrées dans le cadre d’une cérémonie de prix le 26 septembre prochain. Les gagnants seront présentés et honorés d’un trophée conçu par le sculpteur canadien Tom Forbes.

Les DIC félicitent chaleureusement tous les gagnants des prix Top 5 Under 5.

C’est un honneur bien mérité!

idc Top 5 Under 5

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Celeste Christie “To Celeste, design and life are adventures to be explored and experienced,” said her supervisor Maureen Doyle, a principal at the Winnipeg-based firm Synyshyn Architecture Interior Design Inc. “She approaches both with an enthusiasm and openness that allow her to look beyond the obvious and see opportunities where others might see obstacles.”

For her design challenge, Celeste proposed a “mobile social hub.” Her design features two carts, one for women to sell their merchandise and one for education. The mobility allows the carts to travel to communities throughout the country, expanding the program’s reach.

“Celeste’s mobile approach was original and practical. This really is something that could be taken to Nepal and used,” said Suzanne Campbell.

La superviseur de Celeste, Maureen Doyle, présidente de la firme Synyshyn Architecture Interior Design Inc., à Winnipeg, affirme : «Pour Celeste, la vie et le design sont des aventures à explorer et à expérimenter. Elle voit les deux avec un enthousiasme et une ouverture qui lui permettent de regarder au-delà des évidences et de voir des possibilités où les autres peuvent n’y voir que des obstacles.»

Pour son défi de design, Celeste a proposé un «carrefour social mobile». Son design met de l’avant deux chariots, un pour que les femmes puissent vendre leurs produits et un pour les périodes d’éducation. La mobilité leur permet de voyager dans les communautés à travers le pays, élargissant ainsi les intentions du programme. Susan Campbell précise : «L’approche mobile de Celeste était à la fois pratique et originale. C’est certainement quelque chose qu’on pourrait apporter au Népal et utiliser.»

Erika Sammons Erika Sammons joined the Winnipeg-based firm ft3 Architecture , Landscape & Interior Design after obtaining a master’s degree from the University of Manitoba’s Faculty of Interior Design in 2011.

“Erika’s project work is intuitive, researched and logical,” said Joanne McFadden, principal at ft3. “She is passionate about design and is an incredible champion for our profession.”

The judges praised Erika’s submission for the way it linked the design of the kiosk to the charity’s mandate.

“Through WELNepal’s programs, the women are actively participating in their own educational, social and economic growth, and I felt that the kiosk design needed to reflect that transformation,” said Erika. “In making a conscious effort to design with materials that the women grow and process themselves, the kiosk itself becomes part of the transformative process.”

Erika Sammons a commencé à travailler à la firme ft3 Architecture, Landscape & Interior Design, de Winnipeg, après avoir obtenu une maîtrise à la faculté de design d’intérieur en 2011.

Joanne McFadden, présidente de la firme ft3, mentionne que «le projet d’Érika est intuitif, recherché et logique. Elle est une passionnée du design et reste une championne incroyable de notre profession.»

Les juges ont admiré le dossier d’Erika en raison de ce qui relie le design du kiosque au mandat de bienfaisance.

Madame Sammons précise : «À travers les programmes WELNepal, les femmes participent activement à leur croissance économique, sociale et éducationnelle, et j’ai pensé que le design du kiosque avait besoin de refléter cette transformation. En faisant un effort conscient et un choix de matériaux que les femmes cultivent et transforment elles-mêmes pour le design, le kiosque lui-même constitue aussi une partie du processus transformationnel.»

idc Top 5 Under 5

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Mel Sanderson A recent graduate from Ryerson University’s School of Interior Design, Mel Sanderson has worked at IBI Group since her third year of university.

“Mel demonstrates an exceptional aptitude for design and brings a level of enthusiasm and professionalism not often seen so early in one’s career,” said Peter Heys, who recommended Mel. “She continues to be a stand out young designer in our office, thriving off of the team spirit and collaborative nature of our work.”

Mel’s proposal focused on using local materials and low-tech solutions. One feature of her design solution is using doko baskets, the traditional baskets that Nepalese women use to carry produce, as the way to display product in the retail area. Rather than having to move their products from the basket to a display area, Mel designed a way for the women to simply fasten their basket directly to the kiosk.

“Incorporating doko baskets in this way was a truly inspired idea,” commented Victoria Horobin.

Mel Sanderson est une diplômée du programme de design d’intérieur de l’Université Ryerson. Elle a travaillé pour la firme IBI Group depuis sa troisième année d’université.

Peter Heys l’a chaleureusement recommandée et précise : «Mel démontre des aptitudes excellentes pour le design et apporte un niveau d’enthousiasme et de professionnalisme que l’on ne rencontre pas souvent dans une carrière. Elle continue d’être une jeune designer de notre firme, stimulée par l’esprit d’équipe et la nature collaborative de notre travail.»

La proposition de Mel a su utiliser les matériaux locaux et des solutions à faible technologie. Un élément de sa solution de design est l’utilisation de paniers doko que les femmes népalaises utilisent pour transporter des produits ou pour les exposer dans les espaces réservés à la vente. Au lieu de déplacer leurs produits des paniers aux espaces de vente, Mel a créé un design qui leur permet de déménager les paniers plus rapidement vers le kiosque.

Victoria Horobin a dit que «le fait d’incorporer des paniers doko de cette façon était une idée inspirée.»

Yumiko Shukuda Eric Toker of Toker + Associates Architecture + Interior Design recommended Yumiko Shukuda based on her strong technical skills, meticulous attention to detail and dedication to the profession. Originally from Japan where she studied interior design, Yumiko now practices in Calgary.

Yumiko’s inspiration for her design solution came from traditional Japanese living, where families and communities often share small spaces. “To accommodate this kind of lifestyle, living spaces had to be flexible enough to change along with the situation,” she explained. “The kiosk I designed allows for this kind of versatility.”

Yumiko used a kit-of-parts approach that allows her kiosk to be used as a market, a social area or a classroom, then be stored away securely when not in use.

“Using movable parts that could be assembled in different ways was very clever,” said judge Nicole Cormier. The judges also appreciated the way Yumiko’s design solution examined community and communal living.

Eric Toker, de la firme Toker + Associates Architecture + Interior Design, a recommandé Yumiko Shukuda pour ses compétences techniques extraordinaires, pour son attention méticuleuse au détail et sa dévotion à la profession. Originaire du Japon où elle a étudié en design d’intérieur, Yumiko pratique maintenant à Calgary.

L’inspiration de Yumiko pour sa solution de design vient de la tradition japonaise, où les familles et les communautés partagent le plus souvent des espaces restreints. Elle dit : «Pour accommoder ce de style de vie, les espaces habitables devaient être assez flexibles pour changer selon la situation. Le kiosque que j’ai créé permet ce genre de flexibilité.»

Yumiko a utilisé une approche «caméléon» qui permet l’usage de son kiosque comme d’un marché, d’un espace pour socialiser ou d’une salle de classe, en plus d’être facile d’entreposage lorsqu’il n’est pas utilisé.

Nicole Cormier mentionne : «Le fait d’utiliser des parties amovibles assemblables de plusieurs façons est très intelligent.» Les juges ont aussi apprécié la solution de design de Yumiko axée sur la communauté et la vie communale.

idc Top 5 Under 5

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Heather Wallace Judy Newcombe of Toronto-based firm Newcombe Design Associates Inc. recommended Heather Wallace based on her professionalism, creativity and appetite to learn. A graduate of Sheridan College’s interior design program, Heather has previous experience in furniture design, space planning and retail design.

“Her submission touched all the bases in a practical, competent way,” said Suzanne Campbell about Heather’s submission. “It is very do-able and isn’t over-designed, which is important for this project. It’s culturally appropriate and accessible.”

As a LEED Green Associate, Heather wanted to ensure that her design solution was environmentally sustainable. She combined renewable resources, post-consumer materials and cost-effective construction methods to create an engaging retail and learning environment for the women of Nepal.

“Young professionals have been born into a world that is in an environmentally precarious state,” said Heather, when asked about why sustainability is a focus for her. “As designers, we have the opportunity to make enlightened choices and to educate and influence others.”

Judy Newcombe, de la firme torontoise Newcombe Design Associates Inc. a recommandé Heather Wallace en s’inspirant de son professionnalisme, de sa créativité et de sa soif de connaissance. Heather est une diplômée du programme de design d’intérieur de Sheridan College; elle a une expérience en design de meuble, de planification d’espace et de design de la vente au détail.

Suzanne Campbell mentionne que le dossier d’Heather révèle «son enthousiasme et touche à toutes les bases de manière pratique et compétente. Son projet est réalisable et n’est pas over-designed, ce qui important. Il est culturellement accessible et approprié.»

Heather est une associée LEED Green, et elle voulait s’assurer que sa solution de design s’inscrive dans le développement durable. Elle a combiné des ressources renouvelable, des matériaux et des méthodes de construction économiques pour créer et engager l’environnement d’apprentissage et de vente pour les femmes népalaises.

Lorsqu’on lui demande pourquoi le développement durable compte pour elle, Heather affirme : «Les jeunes professionnels sont nés dans un monde qui est dans un état environnemental précaire. Comme designers, nous avons la possibilité de faire des choix éclairés, d’éduquer et d’influencer les autres.

idc in partnership with: Les DIC en partenariat avec :

idc Top 5 Under 5

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dimensions v o l . 3 /2013

Aging in place / Vieillir chez soi The trend in long-term care looks a lot like home La tendance dans les soins de longue durée ressemble beaucoup à la maison.

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contents/ sommaire

dimensions magazine vol. 3 /2013

8

pg.

idc board of management conseil d’administration David Gibbons, President/Président (ON) Ada Bonini, 1st VP/Première vice-présidente (BC) Donna Assaly, Past President/Ancient président (AB) Adele Bonetti, Director/Secretary/Secrétaire/directeur (AB) Clinton Hummel, Director/Treasurer/Directeur/Trésorier (ON) Aandra Currie Shearer, Director/Directrice (SK) Anne-Marie Legault, Director/Directrice (QC) Dede Hiscock, Director/Directrice (NS) Denise Ashmore, Director/Directrice (BC) Kimberley Murphy, Director/Directrice (NB) Stephen Lamoureux, Director/Directrice (MB) Peter Heys, Director At Large/Directrice (ON) Rachel Clarida, Director At Large/Directrice (BC) Dorothy Stern, Director, Education/Directeur, formation (ON) Meryl Dyson, Director, Industry/Directeur, industrie (BC) Nicole Cormier, Director, Intern/Provisional/Directrice (NB) Trevor Kruse, IIDEX Canada Liaison/Liaison avec IIDEX Canada (ON) David Hanson, Chair, Board of Governors/Président du Conseil d’administration (BC) Susan Wiggins, Chief Executive Officer/Directrice générale (ON)

Dimensions is the official magazine of IDC (Interior Designers of Canada) ©2010 Dimensions est le magazine officiel des dic (Designers d’interiéur du Canada) ©2010

features/ dossiers

departments/ département

8. planning for retirement la planification de la retraite There’s an increasing demand in this country for long-term care residences for an aging population, and a strong push to keep the elderly in their homes.

Au pays, il y a une augmentation des demandes de résidences de soins de longue durée pour une population vieillissante et une forte pression pour maintenir les personnes âgées chez elles.

4/5 on a professional note… sur une note professionnelle…

6/7 in conversation with… en conversation avec…

14/15 on your behalf… en votre nom…

16 industry members/ membres d’industrie

11. climbing the career ladder gravir les échelons d’une carrière Education, experience and examination are the tools you’ll need for a successful career in interior design.

Cela ne se produira pas en une nuit, mais l’éducation, l’expérience et les examens sont les outils dont vous avez besoin pour une carrière réussie en design d’intérieur.

dimensions team l’équipe de dimensions Publisher/Éditrice : Susan Wiggins, Chief Executive Officer, IDC Directrice générale, DIC swiggins@idcanada.org Editor/Éditrice : Julia Salerno, Manager, Communications, IDC Directrice des communications des DIC dimensions@idcanada.org Editorial Advisory Board/ L’Équipe éditoriale : Donna Assaly (AB) Lise Boucher (MB) David Chu (SK) Ron Hughes (ON) Johane Lefrançois-Deignan (ON) Carolyn Maguire (NS) Susan Steeves (BC) canadian interiors team l’équipe de canadian interiors Publisher/Éditeur : Martin Spreer, mspreer@canadianinteriors.com Deputy Editor/Éditeur : Peter Sobchak, psobchak@canadianinteriors.com Art Director/Directeur artistique : Ellie Robinson erobinson@bizinfogroup.ca French Translation/Traduction française : Pierre-Éric Villeneuve

idc staff l’équipe des dic Susan Wiggins Chief Executive Officer Irma Kemp Executive Assistant Tony Sienes Manager, Accounting Meghan Smith Director, Business Development Sue Gravelle Director, Professional Development Barbora Krsiakova Member Services Coordinator Debora Abreu Manager, Marketing Enrique Gaudite Marketing Coordinator/Coordonnateur du marketing Julia Salerno Manager, Communications Rachael Factor Communications Coordinator Candis Green Communications Coordinator/Coordonnatrice des communications

Interior Designers Of Canada C536–43 Hanna Avenue Toronto ON M6K 1X1 t 416.649.4425 f 416.921.3660 tf 877.443.4425 dimensions@idcanada.org www.idcanada.org

dimensions 03

on a professional note… sur une note professionnelle…

Metaphorically speaking, interior designers come in all shapes and sizes. While some are just beginning their career, others are at the height of theirs, and there are those who may be thinking about what comes after a fulfilling career in the best profession, ever. Okay, perhaps we’re a little biased.

Think of the many sectors available to interior designers: healthcare, hospitality, retail, corporate, residential, or even yacht design! You can choose to be an educator or a representative for a manufacturer or supplier. You can even choose to work on staff at a major corporation, like Starbucks, or head your own firm. There are so many options available and lucky are those who have the opportunity to try one or more throughout their career.

You have likely heard the story in the media several times now – the face of the professional world is on the cusp of change. Baby boomers, those born between 1946 and 1964, will be retiring over the next ten years. In our profession, that means that the landscape of interior design will change as companies, owned or led by baby boomers, will implement their succession plan, making room for the next generation of interior designers to take over.

Will some of the familiar company names still exist? Will new companies emerge to fill a void left by those who have closed their doors? Will more companies merge to become a larger entity bringing like-minded interior designers together? Will they merge with architectural firms to create more multi-disciplinary firms? Any good fortune teller could predict it will be a combination of all of the above.

We’ll also see changes to our educational standards as they increase to four-year degree programs. Individuals who teach interior design will be more highly educated with Masters and PhDs. Where will these educators come from? The answer, is in fact, that many practitioners are now choosing to return to school to further their education, so that they can switch from professional practice to the classroom. We

David Gibbons, President/Président Susan Wiggins, Chief Executive Officer/Directrice générale

Les designers d’intérieur ont différentes réalités. Tandis que certains débutent leur carrière, d’autres sont à leur sommet, et il y a ceux qui réfléchissent à ce qui viendra après une carrière satisfaisante dans la meilleure profession, pour toujours. Rien à faire, nous sommes peut-être un peu biaisés.

Pensez aux multiples secteurs ouverts pour les designers d’intérieur : les soins de la santé, l’hôtellerie, la vente au détail, les entreprises, le résidentiel et même le design de yacht!

Vous pouvez décider d’être professeur, représentant pour un fabricant ou même fournisseur. Vous pouvez même choisir de travailler comme employé pour une grosse entreprise comme Starbucks, ou être le président de votre propre firme. Il y a plusieurs options et chanceux sont les individus qui ont l’occasion d’en essayer quelques-unes durant leur carrière.

Vous avez certainement entendu parler de cette histoire dans les médias plusieurs fois déjà : le visage du monde professionnel est sur le point de vivre des grands changements. Les baby-boomers, ceux nés entre 1946 et 1964, prendront leur retraite dans les 10 prochaines années. Dans notre profession, cela veut dire que le paysage du design changera car les compagnies dont les propriétaires et les locataires sont des babyboomers mettront de l’avant leurs intentions de succession et feront de la place pour les générations de designers d’intérieur à venir.

Les noms familiers de certaines compagnies existeront-ils toujours? Est-ce que des nouvelles compagnies émergeront pour combler le vide laissé par celles qui ont fermé leurs portes? Est-ce que les compagnies se fusionneront pour devenir des entités plus importantes, réunissant des designers d’intérieur qui ont des affinités intellectuelles? Se fusionneront-elles avec des firmes d’architecture afin de créer des compagnies plus multidisciplinaires? Tous les diseurs de bonne aventure pourraient prédire qu’il s’agira d’une combinaison des réalités mentionnées ci-dessus.

Nous changerons également nos normes en matière d’éducation pour accom-

dimensions 04

think it’s a noble thing to do, and the profession thanks those who are returning to school to obtain higher education.

At the other end of the spectrum are those just entering the profession. The number of students graduating from a recognized interior design program is steady, if not increasing. Approximately 500 students graduate from an interior design program in Canada annually. It is somewhat easier now to obtain that first position as many interior design programs include internships as part of their curriculum. Internships are valuable because they give students the chance to impress a potential employer in hopes of securing a position following graduation.

Interior Designers of Canada has approximately, 1,000 emerging professionals, those who are in the Student and Intern phases of association membership.

These young professionals are learning, watching and thinking about their place in the profession.

They are beginning their career and either landing exactly where they want to be for the long haul, or they are testing the waters by trying different aspects of professional life as an interior designer.

Our emerging professionals will shape the future of the profession. For those in that profoundly labelled baby boomer category, we ask that you to take on

“IDC asks Professional members to take on the important task of mentoring this industry’s emerging professionals. ” moder des programmes de quatre ans. Les individus qui enseignent le design d’intérieur seront aussi plus scolarisés, avec des doctorats et des maîtrises. D’ou viendront ces professeurs? De fait, plusieurs praticiens choisissent désormais de retourner aux études pour faire le passage de la pratique professionnelle à la salle de classe. Nous pensons que cela est noble, et la profession remercie ceux et celles qui retournent aux études pour obtenir une formation plus complète. À l’autre bout du spectre sont ceux qui débutent dans la profession. Le nombre d’étudiants qui graduent dans un programme de design d’intérieur reconnu est stable, sinon à la hausse. Il y a environ 500 étudiants qui graduent dans un programme de design d’intérieur annuellement. Il est en quelque sorte plus facile d’obtenir ce premier emploi étant donné que plusieurs programmes de design d’intérieur comprennent des stages dans leur curriculum. Les stages sont d’une grande valeur parce qu’ils donnent aux étudiants la chance d’impressionner un employeur potentiel, toujours dans l’espoir d’obtenir un poste après la graduation.

Les Designers d’intérieur du Canada ont approximativement 1000 professionnels débutants qui sont dans les phases réservées aux étudiants et aux stagiaires de

one very important task before you consider life on the beach. Mentor this industry’s emerging professionals. Help them along on their way to a successful and fulfilling career in interior design. It is your spirit and passion that will help shape future interior design professionals.

IDC has an expansive range of programs for emerging professionals. Read more about some of Canada’s talented emerging professionals in this issue as we profile IDC’s Top 5 Under 5 award-winners and a big congratulations to Canada’s Top 5 emerging professionals!

Let’s work together to uncover the skills and talent of our many emerging professionals, and to expose them to the world that is design. Expose them to that moment in their future where they will beam with pride at the space they have just transformed for a very lucky client. If you are a young interior design professional reading this article, know that we are here to help you. Reach out to us; we’d love to hear from you.

Have suggestions? Want to get involved? Our contact details can be found on the contents page. We look forward to hearing from you.

Follow IDC on twitter: @idcanadatweets

« Les DIC demandent aux membres professionnels de remplir le rôle important de mentor pour les professionnels débutants de l’industrie. »

l’adhésion de l’association. Ces jeunes professionnels sont en apprentissage. Ils réfléchissent à leur place dans la profession. Ils débutent leur carrière et se retrouvent exactement là ou ils souhaitaient être pour un long moment, ou bien ils jaugent leurs options en essayant divers aspects de la vie professionnelle du designer d’intérieur.

Nos professionnels débutants donneront une forme au futur de la profession. Pour ceux et celles qui appartiennent à cette catégorie stigmatisée des baby-boomers, nous vous demandons de vous souvenir d’une chose très importante avant de vous retirer pour jouir de la plage. Soyez les mentors des jeunes professionnels de l’industrie. Aidez-les dans leur parcours vers une carrière bien remplie et réussie en design d’intérieur. C’est autant votre esprit que notre passion qui les aideront à bâtir les designers d’intérieur professionnels du futur.

Les DIC ont un éventail de programmes variés pour les professionnels débutants.

Lisez d’avantage sur les talentueux jeunes professionnels dans ce numéro consacré aux gagnants des Top 5 Under 5 des DIC. Nous félicitons chaleureusement les 5 meilleurs professionnels débutants au Canada!

Travaillons ensemble pour découvrir les aptitudes et les talents de nos professionnels débutants et pour les présenter au monde du design. Faites-les voir à ce moment de leur futur où ils sont fiers des espaces qu’ils ont transformés pour leur client. Si vous êtes un designer d’intérieur professionnel débutant et que vous liez cet article, sachez que nous sommes là pour vous aider. Communiquez avec nous, nous aimerions avoir de vos nouvelles.

Vous avez des suggestions et vous voulez vous impliquer? Vous trouverez nos coordonnées sur la page des personnes-ressources de ce magazine. Nous espérons avoir de vos nouvelles.

Suivez les DIC sur twitter : @idcanadatweets

dimensions 05

in conversation with… en conversation avec…

What path did you take in your career to get where you are today?

After graduating from Ryerson in 1967, I worked for four different architectural firms.

In 1973, I joined the firm Sloan Branton, who were beginning a large office renovation project that needed expertise in the preparation of architectural drawings, procedures, and methods, including project management.

I later formed the firm Mole White & Associates Ltd., with Marylin White, joined

by Susan Mole, where we focused mainly on corporate work. In 2009, Mole White merged with DIALOG (Cohos Evamy at the time.) I retired from DIALOG in March 2013.

Dimensions speaks with Retired member, Rodger Mole.

Dimensions échange avec Rodger Mole, un membre à la retraite.

If you could have predicted the future, would you have taken a different path? Hindsight is always 20/20, but I have been ver y fortunate to have great opportunities presented to me along the way. By seizing those opportunities, I was able to advance my career and move forward. I would not change a thing.

By / Par Julia Salerno

Did you experience any major changes to the profession over the span of your career?

A lot has changed over my 40-year career, with technology being the biggest change.

We used to do our drawings on drafting boards with parallel rulers and a mechanical pencil. Fax machines increased the speed of communication with clients and trades.

And later, AutoCad transformed how we work by synching the timelines that we had to meet deadlines.

Educational levels have increased, where a four-year degree is now an entry-level requirement. LEED has made us more aware of our role in the built environment and changed the social consciousness of the profession. Clients have become more demanding for faster-paced projects and are more educated about the rewards of good design.

Name: Rodger Mole What will I miss? The planning and technical aspects of design, and the friendships you develop along the way.

What won’t I miss? The everyday business stuff, like accounting and invoicing.

Nom : Rodger Mole Ce qui me manquera : La planification et les aspects techniques du design. Et bien sûr, les amitiés développées en cours de route.

Ce qui ne me manquera pas : Les aspects procéduriers comme la comptabilité et la facturation.

Quelle trajectoire avez-vous choisie dans votre carrière pour en arriver là où vous êtes aujourd’hui?

Après ma graduation de Ryerson en 1967, j’ai travaillé pour quatre firmes d’architecture différentes. En 1973, j’ai commencé à travailler pour la firme Sloan Branton, qui commençait un gros projet de rénovation de bureaux nécessitant une certaine expertise dans la préparation de dessins d’architecture et de méthodes, incluant la gestion de projet.

J’ai alors créé la firme Mole White & Associates Ltd., avec Marylin White. Susan Mole s’est jointe à nous plus tard et nos intérêts étaient dirigés vers le travail d’entreprise uniquement. En 2009, la firme Mole s’est fusionnée avec la firme DIALOG (dès lors Cohos Evamy.) et j’ai pris ma retraite en mars 2013.

Si vous aviez pu prédire le futur, auriez-vous envisagé un autre parcours?

Après réflexion, la réponse est toujours 20/20. Mais je dois dire que j’ai été chanceux d’avoir profité des occasions qui se sont présentées à moi durant ma carrière. En les saisissant, j’ai pu faire avancer ma carrière et progresser. Je ne changerais rien à mon parcours.

Avez-vous fait l’expérience des changements majeurs de la profession durant votre carrière?

Beaucoup de choses ont changé durant les 40 années de ma carrière, avec la technologie qui est restée le plus grand changement. Nous avions l’habitude de faire nos dessins sur une table à dessin avec des règles parallèles et un crayon mécanique.

Le télécopieur a augmenté la vitesse des communications avec les clients et les échanges d’affaires. Plus tard, AutoCad a transformé nos méthodes de travail en mariant les horaires aux dates limites obligatoires.

dimensions 06

What stands out as a memorable moment in your career?

The early projects that I worked on stand out, for example, Rothmans, CHUM Radio, Needham Harper & Steers. Also, a toy store project called Top Banana, where we successfully played a role in increasing their sales 104 percent in its first four months of operation at their new location.

I’ve also enjoyed how the profession, including colleagues, suppliers, contractors and competitors, all work together for the greater good. Even as competitors, we respect one another and enjoy our relationships.

and keep pace with changes in technology. You may not always enjoy working with a particular client or colleague, but you can always control how you handle those difficult situations through your past experiences. Lastly, I would recommend getting involved with your professional association and expand your worldview by traveling and experiencing other cultures.

Continue the conversation: @idcanadatweets

What makes someone a successful interior designer? What tips can you offer emerging professionals?

A successful interior designer is one who can handle a variety of challenges; someone who learns from their successes and failures and applies that knowledge to future projects. Success comes to those who continually push themselves out of their comfort zone to take on new challenges with enthusiasm.

My advice to those just starting out, is to read, research, and always keep learning. Expand your expertise by working on different types of projects,

“My advice to emerging professionals is to read, research, and continually learn.”

Les niveaux de scolarité sont aussi plus élevés, alors que le programme de quatre ans est maintenant la norme de base. Le programme LEED nous a rendus conscients de notre rôle dans l’environnement bâti et a changé la conscience sociale de la profession. Les clients sont aussi plus exigeants avec des projets réalisés plus rapidement. Ils sont aussi mieux formés aux avantages du design de qualité.

Quel serait un de ces moments mémorables de votre carrière?

Les premiers projets sur lesquels j’ai travaillé demeurent uniques : Rothmans, CHUM Radio, Needham Harper & Steers. Aussi, je pense à un projet de jouets pour un magasin appelé Top Banana où nous avons joué un rôle important dans les ventes, en les augmentant à 104 % dans les premiers mois des opérations dans leurs nouveaux bureaux.

J’ai aussi apprécié comment les membres de la profession, incluant les collègues, les fournisseurs, les entrepreneurs et les compétiteurs travaillent ensemble pour un bien plus élevé. Même comme compétiteurs, nous nous respectons et nous pouvons apprécier nos relations.

« Mon conseil pour ceux et celles qui viennent de commencer, c’est de lire, de rechercher et de continuellement apprendre. »

Qu’est-ce qui fait que quelqu’un devient un designer d’intérieur qui a réussi? Quels conseils pouvez-vous offrir aux professionnels débutants?

Un designer d’intérieur qui a réussi en est un qui peut relever différents défis. C’est une personne qui apprend de ses réussites et des ses erreurs et qui tire profit de ses connaissances dans les projets futurs. Le succès vient chez les gens qui n’ont pas peur de se projeter en dehors de leurs zones de confort pour relever d’autres défis avec enthousiasme.

Mon conseil pour ceux et celles qui viennent de commencer, c’est de lire, de rechercher et de continuellement apprendre. Élargissez vos expertises en travaillant sur plusieurs projets différents et tenez-vous au courant des révolutions dans le domaine de la technologie. Vous n’apprécierez pas toujours travailler avec certains clients ou collègues en particulier, mais vous pouvez toujours choisir comment vous gérez ces situations plus difficiles avec vos expériences passées. En dernier lieu, je recommanderais l’implication dans votre association professionnelle et ouvrez votre vision du monde en voyageant et en rencontrant d’autres cultures.

Pour continuer la conversation: @idcanadatweets

dimensions 07

aging in place vieillir chez soi

The trend in long-term care looks a lot like home La tendance dans les soins de longue durĂŠe ressemble beaucoup Ă la maison By / Par Leslie C. Smith

dimensions 08

In 2007, the World Health Organization issued a study on the elderly that described a rapidly aging global population.

The proportion of people 60 and over is estimated to double from 11 percent in 2006 to 22 percent by 2050, meaning that for the first time in world history there will be more older people on this planet than children. A 2002 Health Canada report echoed these findings: by the year 2041, people aged 65 and over will comprise almost a quarter of Canada’s population. Anyone with an elderly friend or relative already knows how strained and inadequate the present system is. Most of us can’t imagine what it might become by the time we reach the “golden years” ourselves.

As dire as the issue may look in the rest of Canada, it’s worse in the Atlantic provinces. Here, a tradition of leaving home to seek work in more prosperous parts of the country has led to a doubly stressful situation: fewer family members are around to lend their elders the necessary support,

En 2007, the World Health Organization a publié une étude sur les personnes âgées qui montre une population rapidement vieillissante.

On estime que la proportion des gens âgés de 60 ans et plus doublera de 11 %, en 2006, à 22 % en 2050. Cela veut dire que pour une première fois dans l’histoire de l’humanité, il y aura sur terre plus de gens âgés que d’enfants. Un rapport 2002 de Health Canada évoque des résultats similaires: à partir de l’année 2041, les gens âgés de 65 ans et plus constitueront le quart de la population du Canada. Tous les gens qui ont des amis ou de la parenté âgés savent déjà comment notre système de santé actuel est épuisé et inadéquat.

La plupart d’entre nous ne peuvent imaginer ce qu’il deviendra au moment où nous atteindrons nous-mêmes l’âge d’or.

Aussi terribles que ces questions paraissent dans le reste du Canada, c’est encore pire dans les provinces de l’Atlantique. Dans ces régions, on quitte traditionnellement la maison pour trouver des emplois dans d’autres coins du pays et cela rend la situation doublement stressante : peu de membres d’une famille sont là pour offrir à leurs

and more people tend to return when they reach retirement age. Nova Scotia is a good case in point. Under its Continuing Care Strategy, the provincial government has made it a priority during the last decade to increase available beds and update design standards for Long-term Care (LTC) facilities, yet they are still scrambling. According to an article this summer in Halifax’s Chronicle Herald: “More than 2,400 seniors in Nova Scotia are waiting for a spot in a nursing home or residential care facility, and the wait list is growing.”

Benjie Nycum is CEO of William Nycum & Associates Limited, Halifax, a leading project design, management and consulting firm with a specialty in healthcare. He has been heavily involved with the provincial push to create more LTC facilities under the new design guidelines and, is scheduled to speak on this very subject at IIDEX’s annual Healthcare Forum in September. When asked about new trends for the elderly, he indicates a heartening shift away from mass warehousing and towards smaller, more focused care, where a household model is used.

“We’re talking 9 to 13 residents together in a separate section adjoining a larger care facility,” he says. “They have their own family-style kitchen, dining room and a dedicated ‘float staff.’” Design features include sound-dampening elements, clear sightlines, no formal nursing stations, demographic-appropriate furnishings and access to the outdoors, all of which, Nycum says, studies in the United States have proven help reduce client anxiety and increase their mobility.

Amy Pothier, an accessibility specialist with Toronto’s Quadrangle Architects, also sees a shift towards “environments that are more home-like and less institutional, featuring beautiful products and design.” Key to making this model work best is the utilization of universal design principles. This includes fully accessible washrooms and accessible-height reception desks, the inclusion of handrails along corridors, wayfinding that’s colour- and texture-coded, clear and reduced-glare lighting, higher and firmer seating, and doorways wide enough to admit not only wheelchairs and walkers but one person assisting another plus mobility

parents âgés le soutien nécessaire, et plusieurs personnes ont tendance à retourner dans leur région d’origine à la retraite. La Nouvelle-Écosse est un exemple. Grâce au programme Continuing Care Strategy, le gouvernement provincial a fait sa priorité d’augmenter le nombre de lits disponibles et de mettre à jour les normes de design pour les bâtiments de soins de santé à long terme dans la dernière décennie. Mais la lutte n’est pas encore gagnée. Selon un article publié cette année dans le quotidien Chronicle Herald d’Halifax : «Plus de 2400 personnes âgées en Nouvelle-Écosse attendent pour une place dans un centre d’hébergement et de soins de longue durée ou dans un foyer d’accueil spécialisé, et la liste d’attente ne cesse de s’allonger.»

Benjie Nycum est président de la firme William Nycum & Associates Limited, à Halifax, spécialisée dans les projets de design d’envergure, la gestion et la consultation pour le milieu des soins de la santé. Il a été très impliqué dans la détermination provinciale à créer plus de bâtiments de soins de longue durée avec les nouvelles normes de design et devrait en parler dans le cadre du forum annuel sur les soins de santé, qui aura lieu à IIDEX en septembre prochain. Lorsqu’on lui

demande quelles sont les nouvelles tendances pour les personnes âgées, il indique un mouvement radical loin des gros centres de soins pour valoriser des soins prodigués dans des milieux adaptés au modèle du foyer.

Il précise : «Nous parlons de 9 à 13 personnes qui vivent ensemble dans une section séparée mais proche d’un plus gros établissement de santé.

Ces personnes ont leur cuisine, une salle à manger et une équipe flottante d’employés dévoués.» Les accessoires de design incluent des éléments insonores, des lignes de visibilité claires, des postes de garde informels, des mobiliers adaptés au divers portraits démographiques, un accès facile à l’extérieur, le tout prouvé favorable à la réduction de l’angoisse et à l’augmentation de la mobilité de la clientèle, selon une étude américaine évoquée par Monsieur Nycum.

Amy Pothier, spécialiste des questions d’accessibilité pour la firme Quadrangle Architects de Toronto, voit également un mouvement vers « des environnements qui ressemblent d’avantage au foyer, moins institutionnels et montrant un beau design et des beaux produits.» L’utilisation des principes du design de conception universelle est centrale pour que ce modèle fonctionne. Cela comprend des salles

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scooters making three-point turns.

A specialist in healthcare environments for people of all ages, Anne Carlyle, principal of Ottawabased Carlyle Design Associates, agrees that universal design and small-scale living spaces are vitally important. These things “keep people oriented, healthier, and give them more of a sense of belonging.” Finishes play a role too, everything from more saturated colours (“As we age, colours appear more yellowed,”) to time-defying, naturegrounded palettes. Still, she says, adding colour, warmth, pattern and variety to an LTC environment can be extremely difficult, especially as “requirements for infection control are becoming more and more challenging and standards more stringent.”

How easy are materials to clean with hospital-grade disinfectants and bleach? And how easy are they to clean, period, given the cost of housekeeping labour? “We love to think about what will put smiles on people’s faces,” says Carlyle, “but all this other stuff has to go on in the background and it takes a lot of time and energy.”

The ideal, and a comfortable, cost-effective solution to the issue of our aging communities, is to be able to maintain elderly people in their own homes. “A minor but increasing trend is home care,” says Benjie Nycum. “Technology is going to be a huge factor in this, with robots, improved communications and cohesive care management systems.”

If such a change is indeed possible on a large scale, it could also change the way designers work. Rather than concentrating their efforts on a handful of major institutional structures across the country, they could perhaps have many individual homes to reconfigure.

de bains et des bureaux de réception accessibles pour tous, l’inclusion de rampes le long des corridors, des affichages colorés et texturés, des luminaires clairs et tamisés, des sièges plus hauts et plus fermes, et des portes qui sont assez larges pour accommoder non seulement un fauteuil roulant et d’autres individus, mais aussi une personne assistant une autre personne et des scoutéristes capables de tourner leur véhicule.

Anne Carlyle est spécialiste dans les environnements des soins de la santé pour les personnes de tous les âges et présidente de la firme Carlyle Design Associates, basée à Ottawa. Elle est d’accord avec le fait que le design de conception universelle et des espaces habitables à plus petite échelle sont vitaux et importants. Elle remarque que ces choses «maintiennent le sens de l’orientation des gens, leur procurent la santé et augmentent leur sentiment d’appartenance.»

Les finitions jouent aussi un rôle, incluant celles aux couleurs saturées (en vieillissant, les couleurs peuvent apparaître plus jaunes) jusqu’aux teintes plus intemporelles de la nature. Elle maintient par ailleurs que l’ajout de couleurs, de chaleur, de motifs divers et de variété à un environnement de soins de longue durée peut être extrêmement difficile, et elle insiste puisque, dit-elle, les «exigences pour le contrôle des infections représentent des défis et les normes sont plus strictes.»

Les matériaux sont-ils plus faciles à nettoyer avec les désinfectants et les javellisants d’hôpitaux?

Sont-ils faciles d’entretien, finalement, considérant les coûts du travail d’entretien ménager? Carlyle précise : «Nous aimons penser aux choses qui fer-

ont sourire les gens, mais toutes ces autres choses doivent être considérées et cela prend beaucoup de temps et beaucoup d’énergie.»

Une solution idéale, confortable et économique aux questions qui concernent nos communautés vieillissantes est de maintenir les personnes âgées dans leur maison. Benjie Nycum précise : «Les soins à la maison sont une tendance qui prend de l’importance. La technologie jouera un rôle primordial dans cette alternative, avec des robots, des communications améliorées et des systèmes de soins cohésifs.» Si de tels changements sont en fait possibles à une échelle plus grande, cela pourra changer les manières de travailler des designers.

Au lieu de concentrer leurs efforts sur une poignée de structures institutionnelles à travers le pays, ils pourraient avoir plutôt plusieurs maisons privées à reconfigurer.

Continue the conversation: @amypothier @BenjieNycum @AnneCarlyle1

Pour continuer la conversation : @amypothier @BenjieNycum @AnneCarlyle1

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climbing the career ladder Gravir les échelons d’une carrière

There is no express train to success. It takes hard work and dedication.

Il n’y a pas de train express vers la réussite. Cela exige beaucoup de travail et de la dévotion.

By / Par Julia Salerno

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You have to put in the time, set the foundation – or climb the proverbial career ladder – to achieve success.

Your career as a professional interior designer is built on three stages: formal education, work experience, and examination. The path is rigorous, and it’s not without its challenges, but once you’ve reached the end, you can reap all of the benefits that a career in interior design has to offer.

North American educational standards are set by CIDA, the Council for Interior Design Accreditation, to address what students must learn to become professional interior designers. “CIDA’s standards broadly reflect the evolving components of graduate preparation for interior design practice and focus on program mission, goals, curriculum, and administration; critical thinking, professional values, and processes; and core design and technical knowledge. This provides graduates of CIDA-accredited programs with a strong foundation on which to build a successful career, and contribute to the profession,” says Megan Scanlan, Director of Accreditation at CIDA.

Vous devez y mettre le temps, établir vos fondations ou monter les échelons jusqu’ au sommet, comme le veut l’expression consacrée, pour enfin réussir.

Votre carrière comme designer d’intérieur s’établit sur trois phases : la formation, l’expérience de travail et les examens. Le parcours est rigoureux et représente plusieurs défis, mais une fois arrivé à la fin vous pouvez profiter de tous les avantages qu’une carrière en design d’intérieur peut vous offrir.

Les normes nord-américaines en matière d’éducation sont établies par le CIDA (The Council for Interior Design Accreditation) afin de déterminer ce que les étudiants doivent apprendre pour devenir des designers d’intérieur professionnels.

La directrice de l’accréditation au CIDA, Megan Scanlan, affirme : «Les normes du CIDA reflètent largement les composantes changeantes de la préparation à la graduation pour la pratique du design d’intérieur et ne perdent pas de vue la mission du programme, les buts, les valeurs, les processus et l’administration, sans oublier le design

“CIDA is firmly committed to setting high standards for interior design education, challenging programs to meet and exceed those standards, and seeking ways to continuously elevate and evolve the standards. Our standards contribute to the advanced professionalisation of interior design,“ adds Scanlan.

CIDA’s standards deem a fouryear bachelor degree as the minimum level of interior design education. Lynn Chalmers, acting Head of the Department of Interior Design at the University of Manitoba, credits the increasing professionalisation of interior design in North America for the University’s early adoption of its interior design masters programs, one of which is CIDA accredited. “Professionalisation has increased the level and depth of knowledge expected of an education for this discipline.” U of M’s Bachelor of Interior Design was the first such degree in Canada, with accreditation since 1974.

Interior design education has evolved to include community based learning, international field trips, internships,

and more hands-on experimentation.

Research is consistently used to inform design solutions and social and cultural conditions are now embedded into design thinking. “Studio projects were once framed simply as office, residential, and commercial. Now, students are presented with design problems that respond to multi-faceted social issues, like intergenerational housing with universal design and environmental sensitivity,” says Chalmers.

“Today, classrooms are less the place for paper based drawings and formal critique sessions, and more the place for discussion of theory, presentation of research and design development in progress. They are less about the professor as the master, and more about a learning environment that supports different approaches and processes, facilitated by the professor,“ adds Chalmers.

“Interior designers can expect graduates to have good ideas to contribute, knowledge of sustainable materials and practices, and have a much broader view of interior design practice,” says

fondamental et le savoir technique. Cela donne aux diplômés des programmes accrédités par le CIDA une fondation à toute épreuve sur laquelle il est possible de bâtir une carrière réussie et de contribuer à la profession.»

Madame Scanlan insiste : «Le CIDA est fermement engagé à mettre de l’avant des normes élevées pour la formation en design d’intérieur, à mettre au défi les programmes de satisfaire aux exigences et de les surpasser, et à trouver des façons de continuellement élever et faire évoluer les normes. Nos normes contribuent à l’avancement de la professionnalisation du design d’intérieur.»

Les normes du CIDA renforcent le diplôme de baccalauréat de quatre ans comme niveau minimum pour une formation en design d’intérieur. Lynn Chalmers, qui est chef du département en design d’intérieur de l’Université du Manitoba, donne le crédit à la hausse de la professionnalisation de la profession en Amérique du Nord pour justifier l’adoption anticipée des programmes de maîtrise en design d’intérieur, dont l’un qui a l’accréditation du CIDA. Elle insiste: «La professionnalisation a augmenté le niveau et la profondeur des connaissances espérées.» Le programme de baccalauréat en design d’intérieur de l’université du Manitoba a été le premier

à offrir un diplôme du genre au Canada, avec une accréditation depuis 1974.

L’éducation en design d’intérieur a évolué afin d’inclure une connaissance de base de la communauté, des vo­yages sur la scène internationale, des stages, et de l’expérimentation plus directe sur le terrain. Les recherches sont utilisées sans cesse pour nourrir les solutions de design, et les conditions sociales et culturelles font désormais partie intégrante de la réflexion sur le design.

Chalmers ajoute: «Les projets de studios étaient autrefois identifiés comme appartenant au milieu du travail, au résidentiel et au commercial. De nos jours, les étudiants sont en contact avec des problèmes de design qui correspondent à des questions sociales multiples, comme des habitations intergénérationnelles construites selon les concepts du design universel et soucieuses l’environnement.»

Elle renchérit sur le fait que «de nos jours, les salles de classe sont moins des endroits pour des dessins de base sur papier ou des séances de critiques formelles et davantage des espaces pour discuter des théories, de la présentation de la recherche et du développement du design en évolution. Elles sont moins centrées sur le professeur comme maître et plus concentrées sur

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Chalmers. “New grads will need support and mentoring and will be quick to contribute, particularly in their skills in using current technology and their knowledge of environmental design strategies.”

Quality work experience compliments academic work and enhances your development as a professional. To be eligible to write the qualifying exam, you must have interior design education and full-time interior design work experience. CIDQ (Council for Interior Design Qualification), formally NCIDQ, has recently changed its exam format to allow graduates of approved schools to write the fundamentals section of the exam straight out of school. While the content hasn’t changed, the multiple-choice questions have been rearranged into two separate exams. The first focuses on design fundamentals, which a young designer learns in the classroom, and the second emphasizes knowledge acquired after several years of work experience.

“Work experience is different for everyone,” says Coreen Riley, principal of Within Design Inc., and Interior Designers of Alberta’s CIDQ Liaison for the second time running. “Generally, you’re ready to write the professional and practicum sections of the exam after working through a variety of projects within varying scopes, from start to finish. This ensures you have the ability to react quickly, professionally, and creatively to

any situation thrown your way.”

Riley’s recommendation for passing the exam is to be able to react based on experience and acquired knowledge without over thinking your decisions.

“Take the exam seriously, but don’t get bogged down in the details. The exam is not out to trick you,” she says. “If you know your codes and design principles, and can clearly communicate yourself on the practical exam, then you’ll be successful.”

Passing the exam is a milestone moment in your career. You have now completed the education, experience and examination requirements to become an interior designer. Celebrate as you move from Intern/Provisional membership to being a full member of your provincial association.

For all emerging professionals –your provincial association and the national association are your go-to resources to help you move through the stages of your career. Our goal is to provide you with tools, resources, mentorships and inspiration along the way. Reach out and take advantage of these services.

They’re here for you: the next generation of the interior design professionals in Canada. We look forward to counting you among us.

l’environnement d’apprentissage qui soutient les différents processus et approches facilitées par le professeur.»

Elle ajoute: «Les designers d’intérieur peuvent espérer que les diplômés auront de bonnes idées à partager, une connaissance des matériaux et des pratiques durables, sans négliger une vision plus vaste de la pratique du design d’intérieur. Les nouveaux diplômés auront besoin de soutien et de mentorat. Ils seront aptes à contribuer plus rapidement selon leurs aptitudes en utilisant la technologie actuelle et leurs connaissances des stratégies du design environnemental.»

Une expérience de travail de qualité complète le travail académique et améliore votre développement comme professionnel. Vous devez avoir une formation en design d’intérieur et une expérience comme designer d’intérieur à temps plein pour être éligible aux examens. Le CIDQ (Council for Interior Design Qualification), autrefois le NCIDQ, a récemment changé le format des examens pour permettre aux gradués des institutions approuvées d’écrire les sections fondamentales de l’examen à la fin de leurs études. Même si le contenu n’a en rien changé, les questions à choix multiple ont été réorganisées en deux examens distincts. Le premier couvre les concepts fondamentaux du design que les jeunes designers apprennent en classe, et le second met l’emphase sur les savoirs acquis durant les nombreuses années d’expérience de travail.

Coreen Riley, présidente de la firme Within Design Inc., et agente de liaison avec le CIDQ pour

un second mandat pour l’IDA (Interior Designers of Alberta), affirme que «l’expérience de travail est importante pour tout le monde». Elle ajoute : «En général, vous êtes prêts à compléter les sections professionnelle et pratique des examens après avoir travaillé sur divers projets d’envergure variée, du début à la fin. Cela assure que vous avez l’aptitude à réagir rapidement, professionnellement et avec beaucoup de créativité à toutes les situations qui vous sont présentées.»

Le fait de passer les examens est un moment important dans votre carrière. Vous avez maintenant complété l’éducation, l’expérience et les examens obligatoires pour devenir un designer d’intérieur. Célébrez cette étape au moment où vous passer du statut de membre stagiaire ou provisoire à celui de membre de plein droit de votre association provinciale.

Pour tous les professionnels débutants, les associations provinciales et nationale sont des ressources incontournables pour vous aider à franchir les étapes de votre carrière.

Notre but est de vous fournir les outils, les ressources, le mentorat et l’inspiration nécessaires tout au long du parcours. N’hésitez pas à profiter de ces services. Ils sont là pour vous,

la prochaine génération de designer d’intérieur du Canada. Nous espérons vous compter parmi nous.

Continue the conversation: @idcanadatweets

Pour continuer la conversation : @idcanadatweets

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on your behalf… en votre nom…

There has never been a more exciting time for Intern/Provisional members to visit IIDEX Canada. This year, IDC has increased its programming with a focus on emerging professionals (EP) – the next generation of interior designers. And the best part is that all EP programs we’ve organized are completely free of charge.

Over the years, IDC has hosted many events for emerging professionals, which means we get to hear a lot of feedback from members. We know that you have questions about the profession, the CIDQ exam, and questions about the professional associations, and what IDC has to offer. The show schedule is loaded with tons of exciting presentations, workshops, and events that will not only inspire and inform, they will answer your questions.

Centered around our slogan – a twist on “I Heart Interior Design,” emerging professionals will have plenty to see and do. In the middle of it all, you’ll find an interactive hub for emerging professionals, a place where you can stop in for a quick visit, or stay a while and check out the various stations set up to address what it means to be a member of IDC. Belonging to your professional association is more than paying dues. It’s about information about the latest news and policies that affect interior designers. It’s about life-long learning and growing your business or career. Membership is a community of like-minded individuals who network and share ideas. Your membership in IDC is like having a cheerleader on your team to advocate on your behalf.

“We’ve taken cues from our membership goals and turned them into what will be an exciting and interactive lounge on the show floor targeted at emerging professionals,” says IDC’s Marketing Manager, Debora Abreu. “Young professionals can expect innovative programming, featuring an inspiring keynote, exam-cram and job search workshops, to name a few.”

There’s no doubt that social media has changed the way we communicate. The

Il n’y a jamais eu de temps plus excitant pour les membres stagiaires ou provisoires que de visiter le salon IIDEX Canada. Cette année, les DIC ont augmenté leur programmation en pensant aux professionnels débutants (PD) : la nouvelle génération de designers d’intérieur.

Et plus merveilleux est le fait que tous les programmes pour les professionnels débutants que nous avons organisés sont gratuits.

Au fil des années, les DIC ont organisé plusieurs événements pour les professionnels débutants. Cela veut dire que nous entendons plusieurs commentaires des membres. Nous savons que vous avez des questions au sujet de la profession, des examens du CIDQ et sur les associations professionnelles et ce que les DIC peuvent vous offrir. Le calendrier du salon est rempli d’une somme de présentations, d’ateliers et d’événements, qui, non seulement vous inspireront et vous informeront mais répondront à vos nombreuses questions.

Les professionnels débutants auront plusieurs choses à entendre et à faire tout autour de notre slogan «I Heart Interior Design.» En plein cœur de l’événement, vous trouverez un carrefour lounge pour les professionnels débutants, un endroit pour vous arrêter, faire une courte visite ou prendre le temps de regarder les stations variées qui sont montées pour vous informer sur ce que veux dire être membre des DIC. Le fait d’appartenir à une association professionnelle signifie plus que payer une cotisation. Il s’agit d’obtenir l’information concernant les nouvelles les plus récentes et les réglementations qui ont un impact sur les designers d’intérieur. Il s’agit de l’apprentissage d’une vie, de votre entreprise et de votre carrière. L’adhésion de membre est une communauté d’individus ayant des affinités qui se rencontrent et partagent des idées.

L’adhésion aux DIC, c’est comme avoir un meneur de claque dans votre équipe qui fait de la promotion en votre nom.

La directrice du marketing des DIC, Debora Abreu, mentionne : «Nous avons profité des objectifs de notre adhésion et nous les avons transformés en ce qui deviendra un salon excitant et interactif destiné aux professionnels débutants. Les professionnels débutants peuvent s’attendre à une programmation innovatrice, incluant une conférence inspirante, des ateliers préparatoires pour les examens et de recherche d’emplois, pour ne nommer que ces quelques activités.»

Il n’y a pas de doute que les médias sociaux ont changé nos manières de communiquer.

Le salon des professionnels débutants est l’endroit pour vous, pour vous rencontrer,

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emerging professionals lounge is the place for you to connect and spark an online convo about what you’re doing at the show. Then watch it trend on our live feeds.

If you’re thinking about taking your CIDQ exam, but aren’t quite sure where to start then don’t miss our exam cram session, where you’ll learn the best way to cram for the “Q.” Searching for a new job can be daunting. We take the scary out of the process and turn it into fun with IIDEX Canada’s first ever job fair. You won’t want to pass up the opportunity to meet the faces behind some of Canada’s top interior design firms as they come to recruit their new talent…you!

Emerging professionals keynote speaker, Eames Dimitrios, will take the stage for his talk, “The Blood Will Never Show,” an expression the grandson of Charles and Ray Eames learned to mean that it’s hard work making things look easy. Dimitrios looks back on Eamses work and shares stories about how their successes weren’t without their struggles. Struggles, he says, familiar to many young designers.

We’ll award IDC’s Top 5 Under 5 winners – an awards program especially for emerging professionals – at the show. See their work on display and be there to congratulate them as they inspire your competitive side.

Finally and most importantly, the writing’s on the floor. Don’t miss our sketching competition as we mark up the lounge floor. With a great grand prize you don’t want to miss out on!

As always, the IDC staff and Board will be on hand to say hello and answer any questions. See you in the lounge!

informer les gens en ligne de ce que vous faites au salon et en profiter ensuite pour stimuler et nourrir vos vies.

Si vous pensez passer les examens du CIDQ et que vous ne savez pas par où commencer, ne manquez pas nos ateliers préparatoires où vous en apprendrez long sur les meilleures façon de les réussir avec brio.

Le fait de chercher un nouvel emploi peut être aussi angoissant. Nous rendront agréable cette part difficile du processus dans le cadre du premier salon de l’emploi à IIDEX. Vous ne manquerez pas cette chance de venir rencontrer les visages derrière quelques-unes des firmes de design d’intérieur les plus prestigieuses au pays, des firmes qui viennent au salon pour y recruter des jeunes talents…comme vous!

Le conférencier pour les professionnels débutants, Eames Dimitrios, prendra la parole dans sa conférence intitulée « The Blood Will Never Show», une de ces expressions que le petit-fils de Charles et Ray Eames a appris très jeune et qui indique comment c’est le travail laborieux qui fait que les choses ont l’air facile. Dimitrios examinera le travail d’Eamses et partagera quelques témoignages montrant comment le succès de la firme n’est pas venu sans de longues batailles. Ces défis sont familiers pour plusieurs designers débutants.

Nous révélerons aussi les noms des gagnants de la compétition des Top 5 under 5, un programme de prix conçu pour les professionnels débutants dans le cadre du salon. Venez féliciter les gagnants, admirer leurs travaux et stimuler votre côté compétitif.

Finalement, le plus important est écrit sur le plancher!

Ne manquez pas notre compétition de dessins sur le

plancher du lounge au salon, avec un grand prix que vous ne voudrez pas manquer!

Comme toujours, les employés des DIC et les membres du conseil d’administration seront présents pour vous saluer et répondre à vos questions. Au plaisir de vous voir au lounge!

Need us to act on your behalf? Let us know. We’re here to help.

IIDEX Canada

Emerging professionals programming at IIDEX Canada Meet the firms Sketching contest Exam cram EP Keynote Intern Roundtable Top 5 Under 5 Awards Register at iidexcanada.com/2013/ attendee/emerging-professionals

Vous avez besoin de nous pour agir en votre nom? Faites-le-nous savoir. Nous sommes là pour vous aider.

IIDEX Canada

Les professionnels émergeant programmant au Canada IIDEX Venez rencontrer des compagnies Concours de dessin Examens préparatoires Conférence d’un professionnel débutant Table ronde des stagiaires Les « Top 5 under 5 Awards » Registre à iidexcanada.com/2013/ attendee/emerging-professionals

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Interior Designers Of Canada C536–43 Hanna Avenue, Toronto ON M6K 1X1 t 416.649.4425 tf 877.443.4425 f 416.921.3660 www.idcanada.org dimensions@idcanada.org

Industry members

*Membres de l’industrie With thanks to our industry members for their continued support.

Nous tenons à remercier nos membres de l’industrie pour leur soutien continu.

IDC/IIDEX Partner Partenaires des DIC/IIDEX Hunter Douglas LP. Interface Knoll North America Corp.

Levey Wallcoverings Shaw Contract Group Tandus Flooring Teknion Limited Williams-Sonoma Inc. Designer Marketplace Tier III Niveau III 3M Canada - Architectural Markets Ames Tile & Stone Ltd. Caesarstone Canada Formica Canada Inc. GLOBAL GROUP Haworth Ican Tile Distributors INSCAPE Kravet Canada Lutron Milliken & Company Richelieu Hardware The Mohawk Group YellowKorner Tier II Niveau II Allseating Allsteel Arborite Astone Home Studio Beaulieu Commercial Benjamin Moore & Co. Ltd. Cambria Natural Quartz Surfaces Ceragres Tile Group Contrast Lighting M.L. Inc Crown Wallpaper & Fabrics Dauphin North America ELTE and Ginger’s Hettich Canada L.P. Julian Ceramic Tile Inc. Kohler Canada Co. Mabe Canada (GE Monogram) Mapei Inc. MARANT Construction Ltd. Metropolitan Hardwood Floors Inc. Miele Limited Momentum Group Odyssey Wallcoverings PC350 Robert Custom Upholstery Ltd. Royal Lighting Steelcase Canada StonCor Group Stone Tile International Inc. Three H. Furniture Systems TORLYS Smart Floors Vintage Flooring

Tier I Niveau I 3form 3G Lighting Inc. A&V Granite Abet Corp.

Aeon Stone & Tile Inc. AGA Marvel Alendel Fabrics Limited Altro Canada Inc. Amala Carpets Antech Technologies Inc. Anti-Slip Anywhere Appliance Love Applied Electronics Ltd. Arconas Astro Design Centre Avant Garde division of Master Fabrics Banner Carpets Ltd. Barrisol Canada Beckwith Galleries BerMax Design Ltd bf workplace BL Innovative Lighting Blackburn Young Office Solutions Inc. Blum Canada Ltd. Bradford Decorative Hardware Inc. Bradlee Distributors Inc. BRC Canada Brunswick Manufacturing Co. Ltd. Buckwold Western Ltd. Burritt Bros Carpets and Flooring Business Interiors by Staples C/S Construction Specialties Canada California Closets Canadel Cantu Bathrooms & Hardware Ltd. Carpenters Union, Local 27 Cascadia Design Products CD/M2 LIGHTWORKS Corp.

Century Wood Products Inc. CGC Inc. Chase Office Interiors Inc. Cherrywood Studio Ciot Click Lighting and Home Coast Wholesale Appliances Cocoon Furnishings Coja by Sofa4life Colin Campbell & Sons Ltd. Commercial Electronics Ltd. Connect Resource Managers & Planners Inc. Convenience Group Inc. Cooper Bros. International Coopertech Signs and Graphics Creative Custom Furnishings CTI Working Environments Cubo Design Inc. culture in design Daltile Canada Dasal Architectural Lighting Dell Smart Home Solutions Delta Sierra Construction & Millwork Ltd. Denison Gallery Design Exchange Design Lighting Design Living Centre DOM Interiors Toronto Dominion Rug & Home D’or Art Consultants DPI Construction Management Drechsel Business Interiors DuPont Canada eCarpetgallery

Elite Finishes Inc. The Ensuite Entertaining Interiors Environmental Acoustics Envirotech Office Systems Inc. Erv Parent Group European Flooring Group Finecraft Window Fashions Fleurco Products FloForm Countertops Flux Lighting Inc. Fontile Kitchen and Bath Forbo Linoleum Inc. Gautier GoodHome Painting Greenferd Construction Inc. Grohe Canada Inc. Grosfillex Inc. Heritage Office Furnishings Ltd. Herman Miller Canada Inc. High Point Market Authority hitplay Holmes & Brakel Humanscale Indigo Books & Music Inc. Interior Consciousness Island Window Coverings Ltd. Isted Technical Sales JCO & Associates Joel Berman Glass Studios Johnsonite Jones Goodridge KAARMA Kartners Bathroom Accessories Keilhauer Kinetic Design Products Ltd. Kitchen & Bath Classics (Wolseley) Kobe Interior Products Inc. Kraus/Floors with More Krug La Scala - Home Automation and Integrated Audio/Video Leber Rubes Inc. Legend Kitchen Gallery Inc. Leonardi Construction Ltd. Leon’s at the Roundhouse Light Resource LightForm Livingspace Interiors LSI Floors M.R. Evans Trading Co. Ltd. Mac’s II Agencies Maharam Malvern Contract Interiors Limited Mannington Commercial Marble Trend Ltd. Marco Products (W Group) Martin Knowles Photo/Media Mayhew Melmart Distributors Inc., Atlantic Division Mercury Wood Products Metro Wallcoverings Inc. Miller Thomson LLP MOEN INC. Monk Office Interiors M-Tec Inc. Nienkamper Furniture and Accessories Inc. Novanni Stainless Inc. Nuco System Ltd. Octopus Products Ltd. The Office Shop Office Source Inc. OfficeMax Grand & Toy

Oloir Interiors Olympia Tile International Inc. Para Paints Pentco Industries Inc. POI Business Interiors Powell & Bonnell Home Inc. Pravada Floors Prima Lighting Prolific Marketing Inc. Robert Allen Fabrics Canada Roman Bath Centre Salari Fine Carpet Collections Sherwin Williams Showcase Interiors Ltd. Silk and Style By Dann Imports Silverwood Flooring smitten creative boutique SOFA - Source of Furniture and Accessories Sound Solutions 1997 Inc. SpecConnect Spectrum Brands | Hardware & Home Improvement Stonequest Inc. Streamline Sales & Marketing Inc Stuv America The Sullivan Source Inc. Summit International Canada Sustainable Solutions International SwitzerCultCreative Symmetry Lighting Taymor Industries Ltd. Textile Trimmings The Brick Commercial Design Centre Midnorthern Appliances The Pentacon Group The Sliding Door Company Tierra Sol Ceramic Tile TOR The Office Resource Toronto Refurbishing Limited Tremton Construction Inc. Trespa Tri-Can Contract Inc. Trigon Construction Management TRIPPED ON LIGHT design inc Turkstra Lumber Company Ltd. Tusch Seating Inc. Valley Countertops Industries Ltd. Vandyk Commercial Co. Ltd. Vantage Controls Vestacon Ltd. Vesta Marble & Granite Vifloor Canada Ltd. W Studio Decorative Carpets Westport Mfg. Co. Ltd. White-Wood Distributors Ltd. Wilsonart Canada Window Works Ltd. Workplace Essentials Media Partner Partenaires des médias des DIC HOMES Publishing Group Canadian Interiors *As of August 12, 2013 *À partir du 12 août 2013

Interior Design by SSDG Interiors Inc. Photography by Ema Peter Photography

Visualize Customize Realize

CAN 1.800.607.3876 USA 1.877.607.6789 europtimum.com

SOURCE OF FURNITURE

+ ACCESSORIES

WALK IN WITH YOUR DESIGNER. WALK OUT WITH YOUR DESIGN. Talk abouT inspiraTion.

Your imagination comes alive as your designer walks you through 30+ showrooms of living, kitchen, appliance, dining, bed, bath & accessories in traditional, transitional and contemporary styles. SOFA is 200,000 sq. ft. of show space, plus meeting rooms, a restaurant and wifi.

Mi casa, su casa. Plan and equip your space at your own pace. Roll out your floorplans, run through swatches, measure and test-drive everything before you decide. SOFA redefines the process of outfitting a home.

Consumers are welcome when accompanied by an accredited interior designer or decorator. Don’t have one yet? We can help with that, too.

Tues.–Thurs. 10–4 n VIP Concierge Appointments: 905.678.5626 SOFA 6900 Airport Rd., Mississauga (inside the International Centre)

Member of: IDC, CDECA, IDRC, NKBA, TSA, RDI

Tour SOFA now: www.visitsofa.com/video